16 minute read
Peter Evangelista
Photo by Dubin Photography @rtdphoto
Loud&Clear Magazine caught up with New York Actor and Model, Peter Evangelista.
PETER EVANGELISTA is a born and bred New Yorker who fell in love with movies as a child and drove everyone in his house crazy with his recreations of the films he had experienced.
Pete, how are you? Thank you so much for taking time out of your day. Can you tell us how you first became interested in acting, and what motivated you to pursue it as a career? Absolutely! What really got me hooked was my High School English teacher Mr. Neeham. Senior year we took English with an elective added to the curriculum and I got to choose Mass Media. Seeing as he ran the AV department and truly appreciated the arts, he made us an offer no student would refuse. He allowed us to watch movies and documentaries if we would have detailed discussions after finishing, and he would give us all an “A” for the class. Seemed simple enough. The kicker was that we had to agree to make a movie of our own for his offer to be valid. Every student had to participate in some way to the project, and we got to choose our groups. Fate would have me sitting next to a friend who had already decided he was going to school for filmmaking and he knew that I took whatever exercises we did in class seriously. So, we partnered up and made a short film from pre-production to post-production. That was the turning point for me and my curiosity behind the whole industry. What really motivated me after that was that I was going to College for something I wasn’t in love with and had a job lined up for me that I didn’t choose (Family business). That whole scenario in my life shaped me quickly. I started to take some Acting classes to fill the void, then I made the leap completely and went on to a Conservatory program to study full time. I consumed as much as I could… and the rest is history.
Can you share some of your favorite roles or performances that you’ve been a part of?
Wow… I think they are all my favorites because I get to learn something from each. Either technique wise or about myself. But, I can definitely highlight a few. Romeo, from Romeo and Juliet was one of the first favorites to pop up. I have been lucky enough to have stepped into that role three separate times and each time I revisited the role, there was something new I was able to discover. Plus, the language of Shakespeare always lends itself to a challenge to the Actor to elevate their speech game. Coming to a more contemporary side, I had the privilege to play Stanley Kowalski. The challenge there was to create something new from the ingrained performance that Marlon Brando put on film and immortalized for the rest of us. In stripping that back for myself, I found that there were things in the text that led to a specific place and also allowed me to creatively invent something new (at least for me). For example, I kept going back to his relationship with Mitch and how close they were. How serving in the same army platoon meant more than just serving together. I also wanted to link that to the physical somehow. So, I gave Stanley a wartime injury that he healed from. He took a piece of shrapnel to the left forearm that destroyed the nerve endings to his pinky and ring finger that caused them to be curled up or folded almost fist like. It uniquely lent itself to the constant “ape” comments being made throughout by Blanche because I only had use of my three remaining fingers on that hand. For a man with such pride as Kowalski… this lead to an emotional journey of being emasculated and connected to the lashings out. I could give you a 10 page report on this one alone but I won’t bore you with it all. I also recently had the chance to perform in the play ‘Airness’ as “D-Vicious” the reigning National Air Guitar Champion. It’s a play about Air Guitar… so I got to live out all my childhood dreams and put that skill to good use. The show was a great experience getting back on stage after everything shut down. Plus, it was so damn fun to rock out every night. I am always drawn back to theater because you may live with the characters longer.. and you get the opportunity to discover them more daily through performances. But all of the film and television roles I have been blessed with are my favorites. And I’ll even go as far to say that the ones I haven’t booked but was able to audition for are some of my favorites.
What unique challenges or opportunities do you think actors in New York face compared to other locations?
I think the volume and the level of the competition. Meaning here in New York you are also competing against people who are trained singers and dancers. Someone with a strong Musical theater background is also audition for the Film and TV roles, as well as the straight plays. So the shear volume of people showing up for the same role is multiplied. And the opposite goes the same. You may have a resume full of only Film and TV but you can sing and dance and you’re stepping into the room for a Musical Theater call. It really is unique in that sense. Plus, New York is the Mecca for Actors… it’s been that way forever so don’t hate me for writing it. Being born and bred here… I’m not bias to it. It’s just fact. The old saying is “Film makes you famous, Television makes you rich, and Theater makes you an Actor”… and it’s no secret. Modern technology and social media has helped shape that a bit differently… and the industry has expanded so much… But take it with a grain of salt and a pound of sugar because here in New York, that’s the only way you’ll survive.
How do you prepare for auditions and rehearsals? Are there any specific techniques or methods you find particularly effective?
There are a lot of factors that go into auditions in terms of preparations — but I’ll give you the general idea for what I strive for. I like to be off-book and memorized (as best as possible if not completely) because it then frees me up from the text. It goes back to the technique I studied. I studied Meisner Technique with James Price of The Acting Studio-New York. He is a Meisner Protege and worked directly with Sanford Meisner himself.. and one of things taught in the early introduction of Scene work was to memorize by rote. Learn the text so well that you free yourself up to impulses and emotions and you are not controlled by the lines (memorization of them). Memorizing is grunt work for an Actor. So, do it early and get it over with. So, whenever I can I get them out of the way. If you don’t have the time, as does happen, then dissect the text, make choices that you can justify within the scope of the work, and take it off the page as much as you can. If you look at a script, its black ink on a white page. The black ink is work someone else has done for you… As an Actor, my main job is to fill in the white page while simultaneously fulfilling my duties given with the black ink. Rehearsals are a more in-depth process and have a lot more moving parts. But, I usually take care of the things mentioned to the degree I can without the collaboration element of others, and then free myself up to play when I get there. Actors were originally titled “Players” for a reason… we play. So, I try to take my work to a state of play.
New York is known for its vibrant theater scene. What do you enjoy most about performing in live theater productions?
The energy. Every Actor you talk to will talk about the energy of live performances. Although in Film and TV there are live people around you… your audience is in the lens. In theater, your audience is right there with you and for you. I also love that you get to go through the story in it’s entirety. The arc of the play happens every performance. Which is an amazing journey you only get to experience every performance.
Can you tell us about any memorable experiences or challenges you’ve encountered while working on film or television projects in New York?
Absolutely. I auditioned for a new HBO show that had been green-lit from the start to get it’s full first season off the ground. I’m auditioning for a role that on paper seemed to be set in an intimate restaurant setting with two of the leads for the show. When I showed up on the day, it was at a huge dinning hall with about 300 background actors and two units of crew working simultaneously. It was also kept hush hush who the director was, and that also presented a challenge. Which brings me to my next challenge. Working alongside people you have seen on screen and admire their work. That presents a challenge for any Actor, it may be short lived, but it was definitely something I didn’t expect of myself. I enjoy that aspect of the industry and I don’t get star struck, but meeting someone and working with them are two different animals. I hope every Actor reading this gets to experience it.
How do you stay updated with the latest developments in the acting industry and continue to improve your craft?
There are a ton of great websites to look at for updates on what’s going on. I like to check out the Union websites daily for updates on projects. Backstage is a great source for Actors. They publish all kinds of articles ranging from craft, to getting started, Classes to consider, along with having a great glossary for industry connections (Agents, Managers, and Casting). Are there specific acting techniques, mentors, or acting schools in New York that have influenced your approach to acting? As mentioned before, I studied under James Price of The Acting Studio New York. The Meisner Technique is world renowned and to have been privileged to study with and be mentored by someone who worked so closely with the creator of that technique is special. Another influential teacher of mine was David Robinette. He introduced me to new avenues through the Method Acting approach. I was able to take that with me and incorporate it with all the work I do to this day. It’s interesting how each technique can come together to help one another while working. I also did a ton of reading on my own when it comes to the craft, experimenting with Stanislavski’s work. A lot of my “mentors” don’t have a clue who I am nor that they are mentoring me. As artists who appreciate other’s art, we tend to research the career paths that those before us have taken and look to them as a way of exploring. Some of my favorite actors to watch work are my mentors in a sense.
What advice would you give to aspiring actors looking to start their careers in New York?
Training and technique will bring you to places that you didn’t expect to go. I’ve known some people who just go for it and maybe have taken a class or two… and that could work for some. But, when you find yourself uninspired, tired, or disconnected… your training can help kickstart you to get back into the right place. So, I would say take the class, learn from watching others as well as working with them. Enjoy the energy that New York gives you. Explore all the avenues of Arts that it lends itself too. Do the show in the Black Box. Work both sides of the stage (on and off). Don’t break the bank in the beginning, but also don’t skimp out on investing in yourself.
In such a competitive industry, how do you maintain your motivation and cope with rejection in auditions or casting calls?
Oooohhh…. this is a tough one. Maintaining motivation took a while for me to get the hang of. I think we constantly look for external motivations.. and those can last a while, but they do eventually fade. The real motivation is discipline and persistence. Just know that it’s not always YOUR work that didn’t get you the part or even get seen for the part… but the other side looking for something specific and you have to be ok with that. But, also be ok with showing up tomorrow and the next day and the next. I think for me now it’s way easier for me to try that to give up. Now for the rejection…. It stings… that never fades. Because you entered a field that you love and to be “rejected” or told “not yet” is heartbreaking. But again… it’s not always you. There are so many factors that go into casting. And when you put a camera on it… it could be the smallest difference in height from the lead that doesn’t (or does) get you the part. I also think finding other loves has helped keep me grounded and level to handle the rejection or rollercoaster peaks and valleys. I took to a bunch of things like running, boxing, writing, woodworking. Anything that would either challenge me physically or mentally. Bad audition… great go run or box and use it as fuel. Have the itch to be creative outside of the times you get to through Acting- awesome! Go write or build something. I’ve taken old tables and turned them into benches. I’ve taken a monologue and turned it into a feature film. Sometimes stepping away from it is the best thing for you to step forward with it…
Can you share your insights on the importance of networking and building connections in the New York acting community?
Networking can easily lend itself to being/feeling dirty. At least for me it did. It always had this air of “kissing ass” when in reality it’s not. It’s a chance for you to showcase yourself in a light that allows those you interact with to see you in your element. If you think of it as sucking up to someone, you’re just shooting yourself in the foot. The connections I have made working with other actors have been a tremendous source of networking. Not only do they know your work but they know you throughout the process. And a personal recommendation goes not just a long way.. but all the way, in this business. I’ve gotten jobs because of it. And I have been able to return that favor. Also, the connection that you build might be the connection to the connection to the connection for that project you were eyeing and so on… So you really truly never know. To network or not to network… there is no question. Do it.
While the industry was at a standstill with the SAG-AFTRA strike, are there any projects or performances you’re excited about? Either that you were working on or will be working on (that you can talk about)?
Things have definitely been interesting with handling the strike. I’ve been seen for a great amount of Independent films because of it and I think that’s a world I really enjoy. So, I am excited about more of those coming my way. Theater is still in full force, so I may have something in the works soon soon soon… Both the writers strike, and the Actors strike have allowed me to dip my feet into the work of Voice-Over a bit more. And I was honored to have landed a role in a Audio podcast play series called “A Blind Play of Social Forces” by Mau Haus Productions. As well as just recently wrapping production on another Audio series called ‘Shalom, Amore” produced by Stanley Tucci and Gilded Audio. It’s a beautiful true story about a Jewish-Italian family and their history through World War II. I get to play the writer-director’s Great Uncle… an honor and a privilege.
A little off subject… but I feel that music can often play a big role in our lives. What 5 albums or artists have made you who you are today?
This question is almost as loaded of a question as would be “What’s your top 5 favorite films of all time?”… it’s so hard to answer, but I’ll do my best. Elvis, Metallica, Eminem, Otis Redding, Muddy Waters, Mario Lanza… damn that’s six. Told you this was hard.
How can your fans and the audience support your work?
I have the socials going- Instagram @Theepeterevangelista Facebook Peter Evangelista Also, you can head over to my website which I update regularly to coincide with what’s going on in my career: www.peterevangelista.com
Again, thank you for sitting down with us. Is there anything else you’d like to share with us?
It’s been an absolute pleasure to do this. I am honored to have shared some things about me through these questions. It’s not often that we give ourselves some time to reflect back on all that we’ve stacked up over the years. So THANK YOU for allowing me to do that. I’m forever grateful.
“They hate because they fear, and they fear because they feel that the deepest feelings of their lives are being assaulted and outraged. And they do not know why; they are powerless pawns in a blind play of social forces.” Richard Wright, Native Son.
From Mau Haus Productions comes the anthology podcast series A Blind Play of Social Forces, a collection of short stories about children living in a brutal and unsympathetic adult world.
From IMDb:
“Shalom, Amore” is an epic love story that reveals surprising truths about an Italian-Jewish family, split apart by Fascism. How do you know when to flee? And what does it mean to stay?
