Talking to Keath Hall who plays ORSON WELLES at Don Bluth Front Row Theatre

Keath Hall in Orson Welles
photo courtesy Don Bluth Front Row Theatre

by Gil Benbrook

Orson Welles was an icon in American cinema, having written, directed, produced and acted in Citizen Kane, considered by many to be one of the greatest motion-pictures ever made, in 1941 when he was just 25 years old. Welles was also influential in the New York theatre community in the 1930s, working with the Federal Theatre Project and forming, with John Houseman, the Mercury Theatre Group. He also was behind the renowned radio broadcast of "The War of the Worlds" in 1938. He accomplished all of those achievements at such a young age and would go on to appear and direct in many other film, radio and stage productions. While some of those productions were successful, there were also many failures or unfinished projects he worked on and none of them ever truly achieved the highly regarded innovative techniques and narrative structure he created with Kane.  

Michael Druxman's play, Orson Welles, is a one man show that features Welles in his later years as he looks back and reflects on his past. The play opens tonight at Don Bluth Front Row Theatre in Scottsdale, the first production in their brand new venue, starring Keath Hall as Welles.

For close to 20 years, Hall has been an actor and director, appearing in and working behind the scenes on plays across the Valley, as well as in California, Illinois and Ohio. Hall has appeared as Petruchio at the Flagstaff Shakespeare Festival, and Falstaff in Henry IV, Part I and one of The Three Musketeers, among other roles, at Southwest Shakespeare Company. He is also a fight choreographer and set designer and builder. You could say, like Welles, Hall is a man who wears a lot of hats and has experience in a vast range of areas.

In between final rehearsals for this production, Hall sat down to answer some questions about this production, Welles and the experience of working in a brand new theatre space

 

Orson Welles is a one man show about the famous actor and director. I understand it features Welles toward the end of his life, but what else can you tell us about the play?

Hall - "It is intensely intimate, a direct address to the audience is a large part of the show. I’m paraphrasing several authors, 'Falstaff should emerge from the trapdoor as from hell or descend into the scene as if from heaven.' Orson is no different; we see both good and bad onstage in duality."

Most people today under the age of 40 probably don't know that much about Welles beyond the commercials he did that aired when they were children in the early 80s, and possibly that he directed Citizen Kane, which is a shame for how many films, theatre productions and radio shows that he created. How familiar were you with Welles before you were cast in this show?

"Beyond his infamy with the “frozen peas” outtakes, I had been acquainted with Welles because of his many contributions to classical works and his place as one of the building blocks for performing Shakespeare in America. After I was cast I got to delve into his film and radio works more deeply and also a bit into his life and relationships."

The play is by Michael Druxman, who has written dozens of one man or one woman shows about famous Hollywood actors and directors. What is something in Druxman's play that you think audiences will find most shocking or fascinating about Welles? 

"I think most people knew Orson was funny with a wry sense of humor; I hope audiences are prepared for that. I think also, most can guess that he was haunted by many ghosts from his past.  I suppose the part that I enjoy from Druxman’s play is the childlike wonder, joy and excitement Welles expresses about each of his projects."

What type of research did you do to prepare for the role?

"Lee Cooley, the director, sent me clips and books to study in addition to my own study. I watched several of his films. My goal has always been to give a sense of the character, not a direct impression. "

Keath Hall in Henry IV, Part I
Southwest Shakespeare Company
photo by Laura Durant

What was the most interesting thing you found out about Welles in preparing for this show?

"Welles talks about being a liar in the show: he acknowledges it and it is part of the persona he creates; always the magician with misdirection. As such different friends and confidants have related different and conflicting stories about his life. To me it seems he spent a good part of his life often performing in his every day self as well as onstage. We may never know everything about him but this show is as close to sitting down and having a drink with him as you can get."

I know you've acted in many shows in town before but is this your first one-man show you've done?  How does a one-man show compare to a show where you aren't the only one onstage?

"Several years ago I was fortunate enough to appear in Arizona Curriculum Theatres’ Poefest in which I performed The Black Cat which is 25 or so minutes of me on my own going bonkers. This is 75-80 minutes of me running through dates and events of the past; there is little room for error and there is no one to bail you out. Additionally, varying my tactics and movements onstage are paramount to keeping the show active and moving forward. It is a lot of work and stressful but I enjoy the challenge." 

This play was supposed to have opened a few months ago but was delayed due to COVID. When did you first get involved with this production and has it been difficult having to wait for an audience to see it, or has it given you more time to research and explore Welles?  

"Lee had contacted me years ago about this play. Finding a venue and the right timing had never really worked out until now. I did have a lot of time to sit with this show as dates continually fluctuated. Some time was used for research and other periods we used to take a break and come back to look at it with fresh eyes and new ideas. We did not want the action of the play to become stagnant: I think we probably re-blocked the entire show several times."

This will also be the first play to open at the new theatre space for Don Bluth Front Row Theatre. What has it been like creating a show in a brand new space?

 "Dusty. The Don Bluth Theatre is a labor of love; many people have sacrificed their time and effort into the new space. At times things have been uncertain, frustrating but more often exciting and fun. It is a fantastic group of people."

What do you hope audiences will take away in seeing Orson Welles at Don Bluth Front Row Theatre?

"I hope they take a piece of history with them; the works Welles created are monumentally influential to everything we see in our own visual and audible media. I hope they take away a sense of respect for the personal sacrifices that people make in the entertainment industry. Lastly, I hope they can relate to the joy, pain, passion and humanity surrounding such an awe-inspiring figure. "

CLICK HERE for more information about this production, which runs through May 22