BWW Interviews: David Coomber Talks Bullet for Adolf

Bullet for Adolf is a new play directed by Woody Harrelson, loosely based on a summer in his life in 1983.  Being touted as "almost a comedy" Woody has promised a show that is guaranteed to make you laugh and to think, and its chock full of up and coming Canadian talent. 

The production begins previews on April 19th and officially opens April 21st at Hart House Theatre in Toronto - which Woody recently raved about during his Q&A with NOW's Michael Hollet. BWW had the opportunity to speak with David Coomber, one of the young cast members, about his role in the show, working with Woody Harrelson and what we can expect from Bullet for Adolf:

Congratulations on Bullet for Adolf! What has this experience been like so far?

Thank you! I have been having the time of my life working on this play. The producers, stage managers, crew, actors, and of course Frankie and Woody, have been the most outstanding group of people I have ever had the chance to work with. I am so spoiled to be working with such a talented team.

You are being directed by Woody Harrelson - what is he like as a director?

Woody is a very hands-on and specific director. If even the shortest moment isn't jiving he is up there with you figuring out the rhythm, wording, or the physicality and drilling it until it works. That isn't to say he doesn't know to have fun in rehearsal- the last six weeks have been like arriving at a party every day. A party with yoga mats, vegan food, and a gun.

Bullet for Adolf centers on one summer in Woody's life in 1983 - is it daunting having to act out events of his life with him (and Frankie) watching you?

Throughout our six weeks of rehearsal, Frankie and Woody have been advocates of creative freedom. Although the play is based on real experiences and real people, it's being interpreted in a theatrical way so bold choices have been encouraged since day one. I suppose I get off easy because I'm not portraying anyone in the room. Clint, the character I play, is a nerdy, innocent, and sheltered young man who experiences a kind of spring awakening when he shows up in this provocative world and ends up falling in love with his best friend's love interest. Needless to say there has been no room for intimidation or moderate choices. It has been a blast to play.

One thing that we have consistently been hearing is how generous Woody is with the actors and how much he wants each of you to shine in your roles and be recognized, how has this style helped you grow as an actor?

Throughout the auditions and in our first few weeks of rehearsal, improv played an integral part. What was so rewarding to see was that dialogue that came out of our improvs would show up the next day in a new draft of the scene. What the improvs also allowed was an opportunity for us to make our character's situations and relationships personal. Without a script in your hand all you can do is surrender yourself to the moment and react how I, David, would react in that moment. It was immensely helpful in mapping out Clint's journey through the play. I am also only a year out of theatre school and to be part of a process that values such collaboration has been incredibly rewarding.

Woody is known first and foremost as an actor, do you find that his experiences affect how he directs? Does he have useful tips for you from his body of work over the years?

His comedic brilliance has been an especially crucial resource in this process. He understands comedy like it is a science and could make a hydro bill comedic. He told this story once when we were rehearsing a dinner party scene early on when my character, Clint, had a few pages where he was onstage but not speaking. He said whenever that happened to him on Cheers where he would have a one-liner on one page and nothing for the next five, he would create ways to get offstage. This included spilling something on himself, or needing to go check something in the office. In telling that story he gave us the carte blanche to create whatever kind of stage business we needed to make the scenes real for ourselves and to be sure each line, entrance, exit etc. is justified. I now have a drink spilled on me at least once in every scene.

And speaking of his body of work, do you have a favourite Woody Harrelson film or role?

Cheers is always the first one that comes to mind. I just watched the episode where we meet Lilith for the first time and Frasier introduces her, "Dr. Lilith Sternin, MB PHD EDD APA," and Woody replies, "Boy it sure isn't spelled like it sounds." In rehearsal he'll give the actors a gold star if we do something he likes, so I would give him a gold star for that.

Bullet for Adolf has been very active in online and social media communities, making great use of them to promote the show. How do you feel about using social media as a form of promotion for theatre? Do you use sites like Twitter and Facebook personally? And do you think it can reach out to and encourage a younger audience?

I think using social media is a vital tool for getting the word out about shows and can also help to expand the theatre community. As an actor I find it easy to get lost in this circle of theatre artists and forget that there are people who only see one or two plays a year. Social media I think helps to demystify a notion that theatre is an exclusive, high-brow affair. That said, I don't know if I will ever understand how to use Twitter.

You got your start primarily in musical theatre - have you found any unique challenges handling a play versus a musical?

My career actually started in straight plays. I got my first acting job when I was ten in Marti Maraden's production of The Secret Garden at the National Arts Centre in Ottawa. When people hear The Secret Garden I feel like they associate it with the musical version but the adaptation we did was the play. Musical theatre didn't start happening for me until a bit later in high school. I don't think my own mom would have hired me to be in a musical when I was ten.

I've actually begun rehearsing the role of Mark in RENT this past week on top of the BFA rehearsals, and it could not be two more different worlds. Musicals and plays are certainly two different muscles but my approach is always as an actor first. What is important for me is figuring out what each moment/scene/song means to the character and the objectives that they want to accomplish. Also, in a musical you need to take much greater care of yourself and your voice outside of rehearsal. Thank god Bullet for Adolf isn't a musical.

Finally, what would you say to encourage a young audience to come out and see the show?

Well I can't think of anyone who would need a good belly laugh more than a sleep-deprived, overworked, and delirious student during their exam period. Seriously, I would encourage any student to carve out two hours from their ‘studying for exam' time and come to the theatre and let off some steam.

When and Where?

Bullet for Adolf

Hart House Theatre

April 19th - May 7th

Performances at 8PM with matinees at 2PM on April 30th and May 7th

Tickets can be purchased in person at the box office, by phone at 416-978-8849 or online at www.bulletforadolf.com

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