INTERVIEW: SUNDAY Actor Putting Career Together

PHOTO: Randy Dunkle, "Georges/George" in Sunday in the Park with George at Fell's Point Corner Theatre.

I recently had the privilege of sitting down with Randy Dunkle, a local actor.  We talked about everything from learning to draw to having famous relatives (and he is related to an icon) to playing a man and two dogs all at the same time.  The 28 year-old Towson University graduate was gracious, warm and quite funny and pretty candid.  He is definitely a star on the rise!

 Here are his responses to my baker’s dozen of questions.

1.  James Howard (JH): What drew you to audition for this show?

 

Randy Dunkle (RD): (Laughs) A friend of mine dragged me to it.  I’m not a Sondheim groupie.

2.  JH:  Sunday in the Park with George is an exceptionally difficult work.  What has been the hardest aspect of doing the show?  How did you and the company work through it?

 

RD: I think [doing] Sondheim, working off a CD of the score is not ideal.  Ideal would be with an orchestra.  And trying to make sure every note is hit at the right time.  But we got through it with a lot of practice.  They gave us a copy of the CD, and I listened to it over and over in my car.  So I memorized it.

3.  JH: You and your co-star, Santina Maiolatesi (Dot/Marie), have great chemistry and tension onstage.  How did that develop?  What is the key to you working so well together?

 

RD: I was very lucky with this production.  First, because she is such a professional and monumentally talented, plus I’ve known her for nearly 8 years.  That gave us natural chemistry, but it was an obstacle to get over when you have to have issues as characters, but you don’t have them in real life.  But the caring is there.  It developed from an honesty – the unique thing is we can be completely honest – if Santina needs something more from me, say, a gesture, she’ll tell me and I like that because anything that adds to my character helps her and vice versa.  But the real key is trust.  I trust her onstage implicitly.  The tension was the hardest part because we really don’t have that.  We found our characters together.  Plus, she’s pretty fun backstage (laughs).

4.  JH: Playing George pretty much requires creating two different roles, but with a common thread.  What do you draw upon to create each part?  What do you think is that common thread?

 

RD: Hmm, well, in the first act - I think part of the acting is drawing something out of yourself that’s already there, and augmenting it to create the character.  That feeling you have as a child when your intentions are good, but you don’t know how to deal with every social situation.  And until you learn, you let the world revolve around you and you react to it or you don’t – George in act one doesn’t have the ability to present his feelings in anyway but through his art, or an artistic temper tantrum.  But also every feeling he has – love, hate, anger, sadness… The second act is much harder – it has been a struggle to not just fall back on how I’d react.  I’d never have the energy George has, but if I did!  I draw upon the politician/diplomat in me and then make a whole character from that.  I like the tightrope idea Bill [Kamberger, director] had – he suggested that I “walk a tightrope” during the last phrases of “Putting It Together”- it fits because it symbolizes what I’m trying to do with the character.  I’m doing something I love, but it is difficult – it can be shaky in the middles, and requires much focus.  The common thread, I think, is inadequacy.  Georges in act one – everything about his art fulfills him, but socially he doesn’t know how to deal.  I think he wants to tell Dot to stay, but he just can’t.  George in act two is all about being social – knows how to get people’s money and exhibitions going, but he’s looking to be fulfilled by his art.

5.  JH: You spend almost the entire show onstage.  How do you prepare for such a marathon?

 

RD: I’m a big fan of naps!  I take a power nap before I leave for the theatre, and if I don’t sleep, I turn my brain off.  Act one is introspective; everything is “out there”.  And the intermission helps to switch.

6.  JH: What is your favorite “George” moment?  Your favorite “non-George” moment”?

 

RD: The non-George one is easy!  It’s during “It’s Hot Up Here.”  I love watching that song – I love everything about it – plus I get to just watch and root on my friends.  Favorite “George moment”…. "Finishing the Hat” – He really opens up and becomes extroverted for one second.  It is an emotional rollercoaster – like a little show all by itself.

7.  JH: Sondheim has a reputation for showing up at productions of his works.  If he were to arrive at FPCT, and you got to meet him, what would you like to say or ask him?

 

RD: I’d say, “You are incredibly talented!”  And I’d ask, “What was the situation that made this painting spark the idea for a whole show?”

8.  JH: You have a pretty impressive resume of challenging musical roles.  What attracts you to them?

 

RD: I love the challenge.  I’m very competitive in my heart – I like taking roles where I can prove something to myself.

9.  JH: What one role in a musical or a play would you like to try and why?

 

RD: I’d love to be the Leading Player in Pippin or the director in Noises Off.  I guess I like to play manipulators.  I always wanted to do Chess, and I’m happy I got to do it!

10.  JH: Do you actually draw when Georges is sketching?  What skill have you had to learn over the course of your career that you are most surprised you’ve had to master?

 

RD: Yes, and I’m not too bad!  I actually drew the soldier sketch that we use in act one.  I was very surprised that they made me take an art class.  It actually helped!  I find it relaxing and it keeps me on track.

11.  JH: What is your theatre background in terms of education and experience?  Who influences your aspirations as an actor?

 

RD: I am one class shy of an AA in theatre from Howard Community College.  The people there are incredible; they run it like a professional theatre.  I also learned film acting when I earned my B.S. in Film at Towson University.  My mom is my piano and voice teacher, and [I get help] from friends.  My mom, Michelle Dunkle, was musical director for Songs for a New World at Spotlighters.  I learn from them and my close friend, Felicia Curry (star of AIDA at Toby’s).  My aunt is incredibly knowledgeable and is a great critic and support.  It is great that she is honest – not just lip service.  My uncle, Philip Bosco (star of stage – Twelve Angry Men, Lend Me a Tenor, An Inspector Calls to name a few, TV – Law and Order: SVU, and film – My Best Friend’s Wedding with Julia Roberts, among others) comes to my shows.  I appreciate that he takes the time out to give me HONEST critiques of my work.  It is pretty helpful having a paragon of the industry giving me pointers!

12.  JH: How do you balance a personal life with acting in local productions and your other pursuits?

 

RD: It is really hard. I’m self-employed, so I can make my own schedule.  But my personal life means fitting things in between rehearsals and shows.  I don’t drink when I’m in a show.  Time management is key.  Right now, I’m doing shows intermittently, so my social life hasn’t really suffered that much, I guess.  I’d like to have a career doing this, so I can spend my time performing.  I’m aiming for September to do this full time.

13.  JH: What do you have lined up next that Baltimore audiences can look forward to?

 

RD: Nothing just now.  I’m working on a demo CD, and I’m taking time off to finish my house (Randy is a new home-owner!), get my finances in order, and prepare to pursue this as a full time career.  Of course, if something I really want to do comes along, I’ll try out for it.

 Thanks, Randy!  What a pleasure.  Don’t stay away too long!  James

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