Six years ago I had the displeasure of working with an insidiously passive-aggressive actor. Native to small towns rich in comfort-zone entitlement, this thankfully rare breed was one I had not quite encountered before, but one I certainly hope never to encounter again, and one that perhaps others have also met. There is fresh breath in sharing these experiences.
We that tread the boards have all met our fair share of the more common and harmless eyeroll-inducing diva, making inappropriate comments and demands that can be calmed and washed under the bridge. This is not they.
Scene: I had co-written, and was producing, a play. One of the cast was less than pleasant. Consistently late or absent for rehearsals with no reason or apology, including the tech-dress (turning up halfway through, in trainers, for the photo shoot, amongst a full set of Victorians, distracted and distracting as hell, subsequently demanding detailed feedback as though we were watching his performance and his alone as it would be in the show. Critical of others’ performances past the point of suggestion, forgetting that he was playing a minor, one-scene role, stealing off with other actors for private chats pre-show to make his own directorial enforcements and generally contributing a sickening kind of uneasiness to the room, this man was unbearable. But we bore it. He was alright as an actor when he didn’t let his ego take over (in case you doubt that they know best – improvisation needs to be capped when your director shows you the yellow card; if you don’t trust the script, you’re not doing your job properly.) We were as civil and professional as we knew how to be, and gave him as much as we could. We arranged extra workshops for him. Which he was late for. We exchanged hopefully reassuring glances and quiet words with the rest of the cast.
The main sticking point was the recording of the show. He wanted a copy, and he wanted it now. Now, as a general rule, we didn’t do that. We made theatre. I ensured recordings were made wherever possible for my personal portfolio, and, as a second priority, for the company (this had previously only mattered to me, and could, of course, have encroached too far and spoiled the live experience.) We were but three women, we worked full time, were in the middle of a crazily intensive six-shows-in-six-months programme, and we did not then possess that magical unicorn that poops out time enough to edit and send off copies of all our shows to everyone involved. Additionally, the company ran on volunteer power, and the kindness of friends, and our running and resources were heavily dependent on those people. Records of various shows and the means to edit them lay with the different people who could provide us that help at the time, and so editing the footage, even collecting it, meant coordinating our ‘days off’ (I’ve heard of these) with those who held the footage. I mention all this not to labour a defense but hopefully to shed some light on the process for others experiencing similar problems from either end. The task sounds simple enough, yes, if we were working 4/5 day weeks with regular hours and didn’t run a fucking theatre company in every spare minute we could grab. Days off consisted of the odd hour on a random day of the week in which I might lie in a little longer because I was physically exhausted, or one day in a few months when I actually had a full 24 hours in which no doctor’s appointments, laundry, rehearsals, meetings or chores were inescapable. On these days, because they came so rarely, I often literally needed to sleep all day. My brain required a few YouTube kicks before I made it downstairs, and after that everything was just a blur.
This ugly soul sent me a hideous, threatening email a whole year after the show closed, to reinforce just how angry he was that we had not yet provided him with a full video recording of his performance; a voluntary role he accepted without that caveat, which he then raised during the run. Such was his fury that we could not immediately deliver on his last-minute, never-promised request that he vowed a vendetta to upend our script, our experience of the show, and our reputation.
We would gratefully have accepted his withdrawal from the project at this point, and needless to say, certainly would never be hiring him again.
So goodnight unto you all, aggressive, strained egos seeking out a target. Take your leave. And everyone else – it is not.your.fault.