Two at the Heart of Arsenic & Old Lace, Part 1

It is a warm afternoon in the upper rehearsal rooms of Baltimore's CENTERSTAGE.  Downstairs the whole theatre is alive with getting everything "gussied up" for the new season, which begins September 14^th, with the first preview of the classic American comedy, Arsenic and Old Lace.  Upstairs, the room is also filled with excitement as I had the opportunity to have a chat with two that play's stars, Ian Kahn and Brynn O'Malley.  They play the central romantic couple, around which chaos and mayhem swirl, eventually enveloping both.  It is immediately apparent that both actors are thrilled with the chance to discuss a job they are both clearly enjoying.  Their enthusiasm and personal chemistry makes both this interview and the anticipation of their upcoming performances memorable and exhilarating. 

"Don't worry, Brynn," Ian Kahn says, "we'll sit down and really talk about TV acting and getting ready for pilot season."  Miss O'Malley has just expressed some concern about not knowing, like she does with theatre auditions, just how things will go should she opt to travel west to try out for any number of television pilot episodes.  It is natural that she would look to him for help, as he is the veteran of several such gigs, including two series, Bull and season five of the teen soap, Dawson's Creek.  It is the way the two look to each other for words of explanation and how they easily share laughs about the rehearsal process for Arsenic and Old Lace that exemplifies the rapport the two share professionally, and presumably, on stage.  

So, how do these two hope to be part of a play where the flashier roles are the two spinster aunts of Mortimer (Kahn's character) and all of his bizarre relatives.  Clearly, they represent a romantic comedy aspect in the show, a calming influence perhaps, even.  "I just want out of my father's house!" O'Malley exclaims, explaining her character's motives.  "Elaine is a minister's daughter, and is surprisingly smart.  She really belongs somewhere else.  Back in the day, she'd get smacked for being so forward.  I think that's what makes her interesting, and Mortimer likes that." 

Shaking his head vigorously in agreement, Kahn says, "I think, 'oh, good' when she comes in.  I mean, Mortimer is pretty much losing his mind – he is trying to 'fix' his aunts, and shield them from his brother, Jonathan.  But he loves [Elaine]; she's his center.  He's trying to save her from his DNA!"  To protect Elaine, Mortimer has to get pretty physical to get her out of the house.  "I apologize to Brynn," he says with a sly smile.  "I am pretty rough with her.  There's this sort of love and lust element, and then the madness starts.  Irene (Lewis, director and artistic director of CENTERSTAGE) has it as 'for your own safety – get out!,' which allows her to come back later." 

Kahn sees Mortimer in psychological terms.  "I see Mortimer as always trying to protect others because he was so abused as a child by his brother, Jonathan.  He is a man who is run by the women in his life.  It informs all of his choices." He grins widely, "I'm surrounded by women!  They are so great – Tana (Hicken) and Pamela (Payton-Wright) and Brynne are great." 

"That's funny, his co-star laughs, "I was just thinking how I am surrounded by men!  I mean there are only three of us girls."

"I am nothing like Cary Grant (star of the film version).  Plus there, the love story was the center of the movie.  People wanted to see him that way.  Here, the love story is more integrated."  Miss O'Malley seems impressed with his take on it.  "Ian is very good.  He's very layered."  She also praises the work itself.  "The play really is better than the movie.  The play is not all about Mortimer and Elaine."   

Both stars have nothing but kind words for the entire cast.  "Jonathan Campion, who plays Jonathan, the Boris Karloff role, turns the role into a fresh new telling," Ian says.  Brynne agrees.  "The whole cast is really bringing their best to the table, even the smallest roles are being played with depth."  Ian smiles, excitedly, "I have had the most fun rehearsing.  This will really be something special!" 

So just how did Mr. Kahn end up in Baltimore this fall?  "Stephen Schmidt (who plays Elaine's father, Reverend  Harper), who I worked with on Owen Meany, said [CENTERSTAGE] is one of the best DC/Baltimore area theatres, and said I should audition for this.  I did – we both did- and we both ended up being in it."  He has nothing but praise for this regional theatre.  "I love it – great place, great city.  The housing is terrific and the entire staff – I just love it!  And my fiancé can commute here easily from New York.  Plus, Irene is a great director; she's so smart.  It really is a great time." 

This is not the first time this actor has shared a stage with three of the company members.  He has worked previously with Schmidt, John Ahlin (Broadway's Journey's End), and Ms. Payton-Wright.  In fact it was working with her that made him realize that acting would be his career.  "I did a play with Pamela when I was a 19 year old apprentice.  She was the 'professional' actor they brought in to star in the show, and from whom we learned. [With that experience] I thought, 'I need to do something here.'  I mean, to bring myself up to that level."  He smiles at the memory.  "And now all four of us are here together again working." 

Unlike Miss O'Malley, Kahn hasn't done musicals.  "My agent has me doing the 'classically trained actor' type shows on the road.  I am learning from these," he says in reference to the pretty long list of shows in his program bio, including The Importance of Being Earnest at Arena Stage and A Prayer for Owen Meany at Round House.  He does a lot of workshops of modern works for many friends who are up and coming playwright, including a play called Ted Kaczynski Kills People with Bombs.  He is proud of his friends as they are really starting to be produced, such as Michelle Carter, Alex Dinelarious and Jay Reese. 

His career has taken him all over the United States.  "I've done TV in L.A., but I like to stay in New York, unless there's a job."  So why do a lot of his jobs bring him to this area specifically?  "The shows come from each other.  Like this one from Stephen's recommendation at Owen Meany.  I love it here!  The whole area (Baltimore to DC) is a giant theatre town.  Here, they do PLAYS.  Things you'd never see in New York.  Plus, if it is a play they'd do in New York, I wouldn't get these roles.  I mean if Keanu Reeves wanted a part in a play, he'd get it over me.  He's a name.  TV hasn't given me the 'big name' to get these roles there.  So, I go out there for pilot season, and then do theatre the [rest of the time]." 

Acting for TV and for the stage are two entirely different things, the actor says.  "I always kid people, 'get two agents!'  TV is all about small tones-the audience watches you up close; they watch what you are thinking.  But the stage is so much bigger!  You have to physically express everything.  When I worked on Bull, I learned a lot about TV acting by watching TV.  I noticed you keep very still.  And when the scene is over, you let your face go blank.  You disengage, so the audience knows they can disengage [before a commercial].  Watch a few episodes of The Sopranos, you'll see.  At the end of a scene, they go still." 

For Kahn, the two are two completely different jobs with completely different skills.  "Theatre," he states, "is artful.  TV is all about skills.  College teaches you about acting for theatre.  But, if you really want to learn about acting on TV or movies, you need to see Michael Caine in Acting on Film.  It is OLD, but very very good.  He is a master."

And after this job at CENTERSTAGE? "I don't know," he says quietly.  "It is the life.  You never know what comes next, so you have to really appreciate you have."  For now, Ian Kahn is focusing on the task at hand, Arsenic and Old Lace.  "There is no place I'd rather be than here today.  This experience, this show, these people will effect my career forever I'm sure."  Pretty high praise, indeed.

Part II of this interview with Ms. O'Malley will post next week.  Arsenic and Old Lace begins previews on September 14, with an opening on September 19, and continuing until October 14^th.  Go to www.centerstage.org for more information and tickets.

PHOTOS:  TOP to Bottom: Ian Kahn, Brynn O'Malley; Ian Kahn and Brynn O'Malley in Arsenic and Old Lace at CENTERSTAGE, photo by Richard Anderson; Ian Kahn (left) and Matthew Detmer in A Prayer for Owen Meany, photo by Stan Barouh, courtesy of the Round House Theatre; Tymberlee Chanel (left) and Ian Kahn (right) in The Importance of Being Earnest, photo by Scott Suchman, courtesy of Arena Stage.

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