Interview: Actor/Singer Anthony Alcocer

Alcocer is a most talented performer. His recent performance in "Jekyll & Hyde" at Lancaster Opera House garnered him major audience and critical praise.

He took some time to answer a few questions.

MCL: I've seen you in three different productions. Each one you play a character that is very different from the one before. Do you seek that out? How do you decide what you want do on stage?

AA: I realize that in my situation, I am very blessed. I have found my way, fortunately, into character acting using a vast array of influences and interests. This, coupled with my multi-cultural upbringing and values, allows me to tap into many different avenues within acting. I seek out a process when choosing roles, a chance to create something new, and most of the time with collaborators who understand where I am coming from and how best to utilize me. I decide what I want to sign onto if the director or producer convinces me that I am the only actor they trust to pull off the role, and then simply how much fun I envision I'll have working on that project.

MCL: What is acting to you? What is your process?

AA: Turning psychology into behavior. I believe a good actor is simply the facilitator of the director's interpretation of the author's ideas. In this I am willing to try and fail as many times as my director will allow, as well as receive as much criticism from them as necessary in order to get where we need to go. I also imagine myself as a reactor more than anything, and I try my utmost to be as open and as available to my scene partners as I can. When I think about acting I recall when I first heard a virtuoso playing Vivaldi. For a few moments I wondered, "Is the player putting the music into the violin, or pulling IT out from the violin." The same I think is true for my process, the actor must be both the created character and the intention of the author, simultaneously.

MCL: Where did acting start for you?

AA: I found my love of acting through my older brothers, and then in turn I shared it with my younger siblings. I saw how much fun the older two were having, they both were naturals. I even got to play brothers onstage with one and have shared the stage with all the others as well. I'll be frank, however, and say I am the one in the family who found the process of the work, the craft, practicing daily, rehearsing tirelessly, trying to build character from the page, to be the most fun. I believe that's what separated me from my talented and charming siblings. They all have a fondness and great enjoyment for theater still, but I pursued my career with abandon as I continued to grow.

MCL: How do you keep your energy up on stage?

AA: Eating right and exercise are very important, and trying to stay healthy is certainly key. Brass tacks though, once I prepare, put on the costume, hit the stage, I will grind whatever grist the mill requires in order to give my absolute all in each and every performance. I owe it to the author, the director, my scene partners, and the audience. Although, if I'm remaining as present as I'd like to be, then no audience will receive the same performance as another. Finding something new each night as a result of given circumstances can be such a rush!

MCL: You recently completed "Jekyll and Hyde" with great reviews. Do reviews influence your performance? If you received a poor one would you change something on stage?

AA: Thank you, Jekyll & Hyde was my great pleasure. Reviews are simply part of the plan for trying to get patrons to come see a show. I once told a critic who has a penchant for upsetting actors, "Your situation is unique in that you are able to nudge people in a certain direction on a Friday night. Either they will put their energy and hard earned cash into live and fleeting theater, or they will go see the 12th installment of some obnoxious movie franchise. Do what you can please to get asses in seats." I have had my fair share of praise and criticism, but either way it will never break apart what I have created with the director. Honestly, bad reviews can ruin my day and a good one will make me happy for a moment, but my work and my commitment to my performance will never be influenced by them.

MCL: What was the first acting job you had where it clicked for you? You knew you had the talent. What made you feel that way?

AA: I was in school at Florida State and getting frustrated that I wasn't winning roles that had as much responsibility as I'd like. I didn't realize it at the time, but I was simply a selfish and lazy actor with raw talent just coasting by and had yet to work very hard on anything difficult. Then I was given a chance to play Jacques Roux in Marat/Sade by Shaffer. The director put me through a grueling process of physical and psychological exercises to see how in depth I wanted to go. That process turned out to be an enormous breakthrough for me. Everything rolled into harmony for me, I disappeared into my character, and even my own mother did not recognize me until she looked in the program at intermission. From then on I decided, it's about the character and the story, it's not about me at all.

MCL: What role do you want to tackle that you haven't? Why?

AA: Both of these roles are so iconic, so I would make a thorough attempt to breathe new life into them, not just put on a pageant show. For a straight play I would really like to take a shot at Stanley Kowalski. Williams gave us one of the greatest and yet most difficult male roles of the 20th century. I believe with my brand of research, energy, thoughtfulness and diligence I could shape a Stanley that is less about the audience viewing my body and more about witnessing battered pride in themselves. For musical theatre I have been aching to appear as The Emcee since I first heard Cabaret on record. It is one of the ultimate roles for a chameleon actor, just begging to be formed and shaped in every which way.

MCL: Any show you want to do over? Why? You don't have to mention the actual show if you don't feel comfortable. Just how would you be different now?

AA: There are lots of times I think I would like to leave some characters in the past, and I'm comfortable letting that unique experience remain a highlight and a memory. But there is no way I wouldn't play Judas again if the right opportunity arose. It's the role that defined everything about me and my love for theatre, and my favorite role to date. Perhaps a little less peroxide in my hair the next time, but my intensity for the music and my passion for his story would likely be even greater than before. Also I appeared as the young Jay Kurnitz in Simon's Lost in Yonkers 20 years ago, and now that I'm older I would delight in playing Uncle Louie.

MCL: You've done your share of musicals. You have a unique singing talent. It fits both theater and a rock show. When did music start with you?

AA: Thank you. I was given music at a young age. Classic rock and Alt rock like most, the Blues a little later on. My first record was the Chipmunks covering the Beatles. I really had a love for classical music as well, I would put on Tchaikovsky's Op. 71 and pretend to be conducting while folding laundry. Again my older siblings' influence would lead to the love of show tunes and musicals.

MCL: Singing influences?

AA: I love Robert Plant above all others. I have his crest tattooed on my arm. He and Freddie Mercury, David Gilmour, Bono, Tom Waits and David Bowie. Those were my heroes while I fronted for a few garage bands growing up. In show business I really delighted in listening to Colm Wilkinson for emotion, Brian Stokes Mitchell for power, and Murray Head for personality. I've lifted from all of them to form my own sound.

MCL: Please name a few local theater people that helped you grow as an actor and a singer. What did they do or say?

AA: I've been most fortunate to have shared scenes onstage with some of my frequent directors, and I can say without a doubt that having those two viewpoints rolled into one on several occasions has been a blessing for me.

Vincent O'Neill has an uncanny ability to jump into roles in one instant, then turn around to be his jovial self miraculously in the next moment. That comes from such control and preparation of the text and intent of the writer. The man still studies his script with a fine-toothed comb even before curtain up on the closing show. His direction and interpretation of author's intent is pristine guidance for me.

David Oliver has so much emotional care in everything he does. His genuine love for the craft and how he fits in specifically reminds me that we all have a job to do in order to pull off a great story. He allows me to fly and knows how best to utilize my strengths because of his caring and trusting nature.

Victoria Perez is one of my favorite actors to watch. A tremendous talent who loves to act and who lives for the art. There is nowhere else she would rather be than in a space producing theatre. She has made me aware that I must be thankful for every chance and every moment for that opportunity to create. Staying hungry and humble, yet taking great pride in our noble profession is something she gave to me.

Greg Natale is my father figure within the community. Ready and able to dole out all the love possible required in order to build me up, and at the same time, expecting greatness because of an honest belief in me. Sparring on stage was never so charged, the voltage flying between us was duplicated again when he guided me to great emotion onstage.

Chris Kelly is, and will most certainly continue to be, my greatest ally. He opened my eyes to fearless creativity and allowed us, as a team, to create a roster of characters from the ground floor and through to awards season. There is no one I trust more, and that's what makes our collaborations such a joy. He helps me keep the work and the product on an ever-upward climb of love and success.

MCL: Finally ... Promote yourself. What's going to happen for you 2016/2017? Where can people see you on stage?

AA: Next I will be appearing as Venticelli in Amadeus live with the Buffalo Philharmonic Orchestra, courtesy of my friends at Irish Classical Theatre. It will only be playing January 20-22 because Kleinhans Music Hall is so large, but with the orchestra accompanying the Shaffer script it should not be missed. March 10 - April 2, I will be starring in The Motherfu**er with the Hat by Stephen Adly Guirgus when I return to the stage at Road Less Productions. Don't let the title deter or fool you, it's a play about honor and the recognition of values. However, for the present moment I will continue my greatest roles, that of boyfriend to my beautiful Amy and father to our cats, Pancakes and Batmobile.

For more information about Anthony Alcocer:

https://kleinhansbuffalo.org/

http://irishclassical.com/

http://roadlesstraveledproductions.org/shows/chimes-goblin-story/

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