BWW Blog: Jessica Walker - Deciphering Diva

Divas are a classic theatre troupe that have appeared in productions for decades. So often divas come off as brazen, brash, and dramatic, having a shallow personality and the constant need to acquire attention. Earlier in April my peers and I began work on "Hay Fever" by Noel Coward, a play that puts a dramatic family under the microscope and examines the interactions between relatives that don't fit the standard definition of "normal." I was thrilled to have been cast as Judith Bliss, the matriarch of the Bliss family and an ex-starlet herself. Through the process of this show, and using Judith as a lens, I have found the "diva" to be so much more than the dramatic figure he or she is often portrayed to be, but rather a complex and insecure character that can be challenging to decipher.

During my audition Judith's diva qualities were my main focus, an easy crutch to make her pop; Every eye roll was emphasized, every arm motion flailing, every statement of heartbreak or joy spoken with a necessary amount of gusto. In the first few weeks after securing the role I continued to implement the same physicality and mentality for Judith, recognizing only the diva quality in her character, the part that demanded constant performance. I felt as though Judith had become a stagnant character, and discussed these feelings with my director. He encouraged me to dig deeper, and find a piece of Judith that didn't insist on always being in the spotlight. This task seemed impossible; I failed to comprehend how a woman who insisted on being larger-than-life could possibly be human.

However, after passing the first act and moving to the events of the second, I recognized that Judith's diva was much more than a feather boa and an big-toothed smile, but rather a deep and personal woman with a facade to protect her insecurities. I took the advice of my director and began to dig for clues in the script. For me, Judith first became human when describing her marriage to a distant lover, a moment of true vulnerability for a woman so often displaying bravado. This is one major point of insecurity, and was the first step to recognizing a deeper person underneath a large persona. Tapping in to the emotion associated within any insecurity was the next way for me to become closer to Judith and better my performance. I imagined my own insecurities, picturing the emotions that came in tow. How does it feel when I can't control my insecurities? What do I do to try and pretend they don't exist? Though I may have insecurities that are not the same as those Judith possess, the emotions associated with them are similar. Putting myself into Judith's shoes has allowed me to recognize a fuller person and a fuller character, figuring her life into parameters that make her more relatable. I still have much to learn about Judith, but seeing a layer below the surface has allowed me to feel closer to her as an individual.

Judith has also led me to recognize that even if a diva doesn't have any noticeable demons they may still plagued by insecurities, as most of us are. Many diva characters don't necessarily outright state the things that bother them throughout the course of the piece, but tapping into insecurities outside of the character can still make all the difference. I have not yet come to fully understand the diva, and know that, as I continue to grow as an actor, teachers and mentors will help me learn much more, but recognizing that depth has allowed me to see divas as more than larger-than-life performers. For me, divas have taken one step closer to human.