WWTW Interview: Acting teacher Cheryl Rhoads

Actress and professional acting teacher Cheryl Rhoads understands it takes more than being a “natural” to become a successful actor.

Rhoads, who has worked as a film and television actress, director, producer, writer, voice-over artist and acting coach, currently helps students around the D.C. metro area hone their abilities - or discover talents they didn’t know they had.

WWTW caught up with Rhoads for this Q&A about the acting profession and show business in general.

WWTW: When you first meet a student, can you tell right away if he/she has what it takes to be an actor?

CR: When I first hear an actor read a scene, I can tell if they have a natural gift. However, after teaching for over 25 years (I started teaching when I was five, thanks for asking! :-)…where was I? Oh, yes … after teaching as long as I have, I have come to understand that whether one has a natural gift or not, one’s passion determines the result.

I have had some of the most awkward students evolve into fine actors and actresses. That has been possible due to their ability to focus on telling characters’ story, rather than worrying how they are coming off as individual performers.

WWTW: Talk about your current students — are they all looking to become working actors, or are some simply looking to grow as people or perhaps contribute to community theater?

CR: I have both. I have many working professionals, but there are also those who want to explore being more creative. Those who simply want to be more creative may want to do community theatre, or just improve their ability to communicate.

WWTW: Are today’s younger actors easier to work with than in years past - since many are accustomed to being on camera either via a friend’s camcorder or a Youtube snippet?

CR: I have always found all ages easy to work with. However, the attention of young teens can be the most challenging from time to time (surprisingly much more than young pre-teens).

Yet, I do think that all ages are more accustomed to performing. As you suggest, that can be due to the easy accessibility of camcorders and YouTube or clips on personal web sites.

I think there is also a different mind set towards performing due to shows like “American Idol” or “America’s Got Talent” or even reality shows. People think to themselves, “I’d like to give that a try too!”)

Of course, that can be a good or bad notion depending on that person’s natural abilities. Still, acting is different from performing a song or dancing. Then again, unfortunately too many people are only interested in being famous and they are not very discriminating as to how they are going to accomplish that goal.

WWTW: How has being a working actress shaped your work as an acting teacher?

First of all, because I love what I do, I think my enthusiasm bubbles over into my teaching.  I focus in teaching practical skills to book the job. I feel that one of my strengths as an actress is to think … how can I serve the script, the author and the message … how can I help my fellow actor working with be believable?

As an analogy - in traveling anywhere you certainly don’t want to think what is the longest route to take. You want the most efficient way possible. I feel that the same is true of acting. Get to your destination with clarity and efficiency.

Then I also try to impart that once one has the job, how to be a better part of the production team one is involved in. I have been working a long time, and so I relate those lifetime experiences to my students. I also encourage them to shrug off disappointments, and to build on successes to work on becoming even better!

WWTW: What was the best acting lesson/tip/technique someone ever shared with you?

Cathy and Harvey Kalmenson who head up the top voice over acting company in Los Angeles  taught me wonderful techniques beyond the script to capture a character right away. The Kalmensons are long time friends and their workshops http://www.kalmenson.com/index.html on the west coast are first rate.

Then when I started in Chicago, I went to The Players Workshop, which was an offshoot of The Second City. There, I met my mentor and improvisation teacher, Josephine Forsberg, who taught me how to risk more on stage.

By that I mean, if I was doing a bit on stage and another player went a different direction, to be willing to go another way than I thought. She also taught me how to be stronger in terms of rolling with the punches in show business. Josephine really helped me be more of a go with the flow person both on and off stage.

Being able to let go of control is key to being a good improviser. Then again, when I was first in Hollywood, I also learned so much from the late Dawes Butler (He was the voice of cartoon characters like “Yogi Bear” and “Huckleberry Hound” ). Dawes taught me how to utilize the personalities of people in one’s own life in order to come up with interesting characters.

WWTW: What are the biggest questions/concerns on the minds of your students?

CR: When my students first come to me, they often wonder whether or not they have the capability to follow their creative ambitions. Some may also feel overwhelmed at the enormity of getting started in show business.

However I always encourage them, that as with any other goal in life, it begins with the first step. One has to follow through on the next indicated action, whether that step is auditioning for something specific or taking a class and then preparing a scene to be performed in front of fellow students.

WWTW: What are the main misconceptions about the acting process that students bring to your classes?

CR: They make the same mistake that sounds like a contradiction. They either think it is too easy …or too hard. By that I mean, that sometimes they think they should already have an agent and be working without having developed the necessary skills.

The flip side is that though they may have had the longing, they get intimidated by seeing a professional show. (That always puzzles me, because when I getting started, I found all professional productions or films inspiring.

Yet, some of the adults I have worked with have previously squelched their desire to participate by not taking basic first steps. They make it harder than it has to be. So taking a class or auditioning for community theatre or school productions is a big deal for some of them. Some of the younger ones who are usually very eager- still make the mistake that they think all they need to do is memorize lines.

WWTW: Is it easier than ever to get a job as an actor today given the wealth of media outlets (cable TV, online content as well as traditional broadcast fare?)

Yes. There is an infinite variety of venues as you mentioned. There are film festivals and many opportunities on many levels. It is very exciting to start as an actor or actress in this environment. However, there is one constant that I caution my students about. They need to remember that the play’s the thing. If a script is not worth the time to be presented - take a pass.

Actors are so eager to be seen that often they can appear in the worst garbage. I encourage my students of all ages to have standards. When they get to the point of having representation with a manager and /or agent, it is important to not let anybody intimidate them into doing something they’d rather not do -  just to supposedly get ahead.

That’s nonsense.

I tell students that there are much bigger forces that have brought them thus far, and they will find their way. They just need to be still a moment and do the next indicated action.

(Photo: Actress and acting coach Cheryl Rhoads)

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