Interview: Gregory Erbach in DESIRE UNDER THE ELMS at Hudson Theatre Works 2/9 to 2/27

Desire Under The Elms by Eugene O'Neill's will be performed at Hudson Theatre Works from 2/9 to 2/27 as part of the theatre's Eugene O'Neill Festival. This masterpiece of erotic desire takes a Greek tragedy and sets it on an American Gothic farmstead. The son can see that his father's new young wife plans to push him out. His passionate hatred for her is only matched by hers for him. Blinded by passion, they are set on a collision course. But the rest of the world is not blind.

We interviewed Gregory Erbach who plays the role of Cabot in Desire Under the Elms.

On stage at HTW, Gregory Erbach played the role of Lennie Smalls in Of Mice And Men, Pockey in The Caretaker, Paul Watson in Body of an American and Joey in A Steady Rain, which was selected by the Star Ledger as one of the top 10 NJ theatre productions of 2016. Erbach is the Co-Founder and Producing Director of Hudson Theatre Works, He has produced every production since HTW's inception. Currently the Assistant Electrical Construction Boss at the Metropolitan Opera House, he has been an actor, stage manager, producer, carpenter, electrician and technical director for hundreds of productions at venues such as the American Place Theatre, Steppenwolf Theatre, The Weston Playhouse, The American Jewish Theatre, The John Houseman and The Equity Library Theatre. He was the technical director for John Leguizamo's first two Broadway Video productions Mambo Mouth and Spic-O-Rama for HBO.

What was your earliest interest in the theatre arts?

When I was in 3rd grade, I auditioned for the part of one of the little children in South Pacific. It was the first time I auditioned for anything, and the first time I didn't get a part! Such is the life of an actor! But I was very interested in being involved with the show and I was kind of a precocious kid and I helped with building the scenery as much as a third grader could, and I volunteered to make a bell ringer for the telephone that rings in an early scene and for some reason they trusted me, and I actually pulled it off. I attached a battery, a doorbell button and doorbell ringer on a price if wood and wired it all up. So I had my part in the play where I got to ring the bell on cue each night. So my first experience in theater was backstage, which ultimately would end up being a big part of my life

Can you name a few people who have provided inspiration for your work?

Primarily Katherine Gateley, who taught me What's known as the Meisner Technique, which I first studied at the Mason Grove School of the Arts at Rutgers University, and then I re-did the last year of the Meisner Technique program a second time at her private class in New York City. She instilled in me a respect for the work, a love for the process, and shared with me that she believed I had something special to offer which gave me much courage and has sustained me through some darker times.

Also Lloyd Williamson who was my theatrical movement teacher who taught me the importance of gesture and breathing techniques which I have also carried through my career, not to mention an enormous appreciation for music and poetry and how it can strongly impact the theatre experience.

Wynn Handman, whom I served as technical director for The American Place Theatre for half a decade, and who was a model for how to be an artistic director, his process was so inclusive, and he prided himself on holding weekly meetings with the whole staff which gave us all a sense of the importance of our individual contributions.

Then there's Bobby Moresco, who was a brilliant mentor/teacher while I was a member at the actors gym, a workshop for actors. And all the members of the Circle Rep Lab and their later manifestations, including the current New Circle Theatre Company.

The Actors Gym, and Circle Rep Lab, were models to me for what would become The "Forge," Hudson Theatre Works own Playwrighting and acting development lab.

There are many more but these are the highlights

How have the many roles you have assumed in the performing arts complemented your career?

Wow, yes I've assumed many roles in the theater throughout my career. I've done about every job there is to do in a theater through the years. Each one informs the other. I've been a Carpenter, electrician, lighting designer, set designer, actor of course, producer, scenic charge, technical director, production manager, the list goes on, but like I said each one informs the other and so over my career I've learned to respect every aspect of the theater and what it takes to put on a show.

As Co-Founder and Producing Artistic Director of Hudson Theatre Works, tell us why you think your venue is unique.

Well, we try to present professional theatre with high production value at an affordable price, to serve the local community and it's environs. To that end, we've developed our own, "globe theater" like venue. Each production starts with a thrust stage backed by a projection screen behind a scrim, which allows for us to set scenes through the use of video and graphic art and photography. We then supplement the sets from there with props and furniture, but the projections keep our costs down without losing production value.

We'd love to know how you are preparing for your role as Cabot in Desire Under the Elms.

I essentially approach all roles in a similar fashion, I try to do some research on the period, to get a handle on how people of the time and/or place behaved in particular circumstances, then it's a deep dive into the script to craft my point of view, the meanings of every line in the play, what actors call the who, what, where, when, and why of a character. Then when it's time to hit the boards hopefully the work is all there and you put you focus on all the other actors, and let them inform your impulses.

I look for ways to physically alter the character from the everyday pedestrian me, and try to choose a single specific thing that sets my character apart from me. In "Desire" I'm working with a cane made from a tree branch and a limp. I'm a 76 year old man but can wield my cane like a weapon and keep sons in order!

What would you like audiences to know about the show and the Eugene O'Neill Festival at your theatre?

Well, It's Eugene O'Neill! Those who know, know they're challenging exciting plays, and hopefully those who don't will get an exciting AFFORDABLE primer to one of the greatest writers of the 20th century

Can you share with us any of your future plans?

Well, I plan to continue with HTW, and when I retire from my day job as Assistant Electrical Construction Boss at the Metropolitan Opera, in the next few years, I plan to produce and act in theatre full time. What a better retirement could be, I don't know!

Hudson Theatre Works is located at 80 Hauxhurst Ave, Weehawken NJ, 07086. Visit: https://www.hudsontheatreworks.org/ or call 201-472-5123

Photo Credit: Chase Newhart

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