AN INTERVIEW WITH LAURA STARNIK
We recently had the opportunity to sit down with Laura Starnik, one of the actors in our production of THE CHILDREN, and here’s what she had to say.
What were your first impressions upon reading the script of THE CHILDREN? What excited you about the play and what has excited you about working on it?
I picked up the script of THE CHILDREN 5 or 6 years ago. I can’t remember exactly why I bought it, I think perhaps in my search for monologues for older actors. My first reaction was that I did not like these characters. I thought they were self-centered, selfish, and not to be trusted. Then I participated in a table reading (I read Hazel, not Rose who I’m playing now). Hearing it out loud gave me a new appreciation for the intelligence, complexity, importance, and humanness of it all. That was all years ago. And then Seat of the Pants announced it for their 2025/26 season! Who knew?!?
What excites me the most about this play is the opportunity to explore older female characters who are SCIENTISTS! The older we women actors get, the harder it is to find good, substantial roles that break the stereotypical mold. Few and far between. Thank you, Lucy Kirkwood.
How would you describe your character - Rose? What is fun about playing her, and what are the challenges of the role?
Rose is…complicated. But, then, aren’t we all? She’s independent, intelligent, determined, sarcastic, impulsive, and at times reckless. But above all, she’s passionate. About everything, except perhaps salad.
One of the challenges in portraying her is deciding when she’s “taking the piss” and when she’s being sincere. That’s changed throughout the rehearsal period and continues to evolve. But she and I love a good joke, so we get along on that front. Also, she is exposed physically more than once during this play. A big challenge made manageable by trusted scene partners and directors.
Can you talk a little bit about your process as an actor? How do you work? How do you go about interpreting a script and creating a character?
My process as an actor is pretty straightforward. When I take on a role, I read the script again and again. Invariably, with a good script, I learn something new every time I pick it up. (I’ve also come to understand how very hard it is to write a good play.) The script is rarely beyond my physical grasp for 2-3 months. I don’t shower with it, but otherwise…
I learn my words upfront to get the book out of my hands and out of the way as soon as possible. Once the words are embedded I’m freed up to go exploring. This does not mean I don’t call for line. Believe me, I call for line.
I also study what the other characters say about my character, how they feel about “me.”
“What’s my motivation?” used to be the catchphrase when I was starting out in theatre. Now I find that “what do I want?” is a much more useful question.
Establishing healthy boundaries between my character and myself is also important for maintaining fresh perspective as well as my sanity.
I do subscribe to the old cliche “there are no small parts.” I’m a character actor, often in smaller, supporting roles. I once played Anfisa, the old servant in Chekhov’s THREE SISTERS and joked at the read through that it was a play about a servant. Ha-ha. But really, to understand why that character was put in that play, it helped me to think about the 3 sisters revolving around Anfisa.
You obviously have lots of experience as an actor, but how do you find yourself still developing or growing as an actor through this process? Are you working any differently or trying any new tools for yourself?
I was well into my fifties when I started working in professional theatre. I may be a bit more limited physically these days, but I’m grateful that my mind is still pretty nimble. Each play comes with its unique set of challenges and opportunities, and approaches by its creative teams, so my focus is on staying open and flexible to new ideas and being in the moment. I’m constantly striving to not be distracted. What was the question?
I think you're a terrific comedian and would love to hear you chat a bit about the role that comedy plays in this story, even though it's about some pretty serious stuff.
Well, human beings are naturally funny creatures. It’s often how we survive the pain that comes our way. THE CHILDREN centers around 3 extremely intelligent, accomplished, vibrant seniors who often behave like childish buffoons. Ah, the irony. Hazel and Robin and Rose don’t see it, but the audience will hopefully recognize it, perhaps see themselves in some of what these characters are doing, and give themselves permission to laugh in the face of disaster.
What do you hope the audience's experience will be of this show? What do they have to look forward to?
This play is so layered, there is likely to be something for everyone in it. I hope audiences come way caring more about whatever it is that they cared about to begin with. And I hope they think about THE CHILDREN for quite a while.