An interview with Bertie

Chris Klopatek returns to the character of Bertie Wooster after performing the role in the first play in the trilogy, JEEVES INTERVENES (2010). We asked Chris a few questions about his experience playing Bertie this time around.

You played Bertie Wooster in JEEVES INTERVENES. Tell us a bit about Bertie. What is it like revisiting a character you’ve previously played?

Bertie is a very rich English gentleman who enjoys a life of luxury and the pleasantries of being a carefree bachelor - all of which is usually thrown askew to his dismay by his family and friends.

Revisiting a character is something I don't always get a chance to do in theater, and when the opportunity arises I will always be pleasantly surprised. Having spent the years in between the two JEEVES shows doing many other types of acting, including receiving my MFA in Acting from UC-Irvine, I find I approach any role now with more maturity and experience. Even if the character of Bertie has very little of those. I basically hope to bring a more nuanced and complex version of Bertie Wooster to the stage this time around. 

Briefly list the three best things about JEEVES TAKES A BOW.

1. It will be fun and laughs the whole way through.

2. There will be silly stage fights! Chase Stoeger chasing people and people chasing Chase! Musical Numbers and more!

3. Matt Daniel's Jeeves always has a cocktail ready just when my nerves are at their breaking point.

L-R: Rick Pendzich, Chris Klopatek and Allison Mary Forbes in
JEEVES INTERVENES (2010)

Anything else you’d like to share with readers about the show, rehearsals, etc.?

We have the best rehearsal snack table in the biz.


What are some of your favorite moments in theatre that make you who you are today?

Acting in theater makes you into a more genuine, attentive and adaptable person.

Thanks Chris! We can't wait for JEEVES TAKES A BOW, April 16 - May 3.
 

An interview with Jeeves

Matt Daniels returns to the character of Jeeves at MCT for the third and final play in Margaret Raether's trilogy, JEEVES TAKES A BOW! We asked him a few questions about his experience playing Jeeves.

This is the third time you’re returning to the role of Jeeves. Tell us about the process of revisiting a character you've previously played? 

It’s a little like slipping into a pair of old comfortable shoes. It just feels right. Often, (on stage, at least) when an actor revisits a character, it’s in the same play — it’s much rarer to have the opportunity to explore a role over a series of stories like the Jeeves trilogy. This brings with it some challenges, but also makes some things easier. The challenge is in finding ways to surprise yourself, and not get complacent. But that coin has two sides, because the ease comes in allowing yourself to rest on the work you've done, in order to go deeper in detail.

L-R: Matt Daniels as Jeeves, Chase Stoeger as
Bertie Wooster, and Matt Koester as Gussie Fink-Nottle
in the second play in the trilogy, JEEVES IN BLOOM (2013)

Specifically, I can trust the character work I've already done, and know that my instincts regarding Jeeves are probably right — so much of the nitty gritty work of these plays for me has been figuring out how Jeeves navigates his life around the sheer amount of stage business required in being Bertie’s valet. I’m able to think of activities, and see stage patterns more clearly this time now than last time, itself clearer than the time before.

Which of Jeeves’ traits do you most identify with? 
His sense of order, certainly, and his adherence to the way things ought to be. I’m also a fan of Shakespeare, as he is, but I’m not as big on Tennyson.

Briefly list the three best things about JEEVES TAKES A BOW: 
1. The cast.
2. The story is the cleanest and funniest of the three, I think.
3. It’s always great to see an Englishman in New York.

L-R: Chris Klopatek as Bertie Wooster and Matt Daniels as
Jeeves in first play of the trilogy, JEEVES INTERVENES (2010)

Anything else you’d like to share with readers about the show, rehearsals, etc.? 
It’s an incredibly fun and congenial rehearsal room. This sort of thing spills over into performance. There is no scientific way for the show to not be a blast.

Thanks Matt! We're looking forward to JEEVES TAKES A BOW, April 16 - May 3.

Ask Jeeves

L-R: Chris Klopatek as Bertie and Matt Daniels as
Jeeves in JEEVES INTERVENES (2010)

Matt Daniels returns to MCT to reprise his role as Jeeves after our 2010 production of JEEVES INTERVENES. He also appeared in MCT's A THOUSAND CLOWNS and AROUND THE WORLD IN 80 DAYS. We asked him a few questions about  playing Jeeves again.
 
You’re reprising the role of Jeeves after appearing in JEEVES INTERVENES in 2010. What’s it like to revisit a character that you’ve already played, but in a new context?

It's interesting... This is my first time revisiting a character in a different play, though I have reprised roles in different productions of the same play. This time, since Tami and I had worked out a lot of who Jeeves is, and how he operates, it made it easy for me to just slip right in to the play. The challenges have come in working with a new Bertie (Chase is great, but we had to rediscover a lot of the schtick that Kloppy [Chris Klopatek] and I had created last time, in addition to finding some new stuff. Plus I had forgotten how many props I have to handle. It's a lot.

Any new challenges or unexpected surprises come up this time around? 

There are always challenges when approaching a new text, and for me the challenge is

L-R: Matt Daniels as Albert and
Thomas Kindler as Nick in
A THOUSAND CLOWNS (2012)

the same as it was the last time: finding the smoothness and the grace in Jeeves while there is such chaos all around.

What are some of the benefits and challenges of performing in such a comedic play?

Benefits: We are constantly making each other laugh.
Challenges: We are constantly making each other laugh. 

Matt Daniels as Phileas Fogg
in AROUND THE WORLD
IN 80 DAYS (2009)

Anything fun you’d like to share with readers about JEEVES IN BLOOM, rehearsals, etc? 

Keep a handkerchief count. 

What do you like about being a theatre artist in Milwaukee? 

I love the intimacy that we have - its such a small community that a lot of the work of ensemble building is done before we enter the room. Even if we haven't all worked together in this combination before, we've likely worked with one or another at some point and that makes it fun.

It would seem a most daunting task, sir.

Yesterday we completed the first fortnight of our rehearsal process. The day was capped with what is termed as the "designer run," whereby all of the ladies and gentlemen who are recreating Mr. Wooster's flat and the lighting and musical effects therein gather to watch an entire "run-through" of our little story.

Knowing we would have to make this presentation, we spent the last several days rehearsing both acts, by running long segments and then repeating them, over and over, not unlike a polo or rugby team repeating plays out on the pitch. Also not unlike rugby, there was a great deal of grunting, falling over, gnashing of teeth, and rending of garments. Fortunately, all of the furniture remained intact over those days, so we were able to continue using it for yesterdays presentation. When the rehearsal process has come to a close, I will certainly need to send it for reupholstering and repair. More likely, I shall just have it replaced altogether. Mr. Wooster will never notice the difference, I suspect.

The designer run, remarkably, was quite well received. I do believe it was the first time our full complement were able to recite our roles without the help of playscripts, though certainly we all required a little help now and again. There is a most curious habit in the theatre whereby a participant who has misremembered a segment may call out "Line!" in the middle of the showcase and it will be repeated to him by stage management. I wonder: if Mr. Wooster were able to call for "line" in his life, would I be able to more efficiently deliver him from trouble? Too often I am forced to rescue him (mainly from himself, might I add) by some sort of secreted means.

The designers, one hopes, were able to start to see how the entire production might look. I will admit it has been rather strange to rehearse in a facsimile of the flat which only represents Mr. Wooster's sitting room and hallway. It is my understanding that while that facsimile will gain more verisimilitude upon moving into the theatre, we will still be without the basic structures of bedrooms, dining room, parlor, foyer, and kitchen. Further, we shall be able to see the innards of the walls from the "offstage" at all times -- it is pure façade, as if we are living inside-out. What a strange world this is. Although, as I think about it, no stranger than the life Mr. Wooster leads. One cannot help but marvel at the sheer volume of backward situations in which he finds himself.

Next week we shall continue running the play in its entirety to ferret out scenes in need of fine-tuning. At week's end, we move into the theatre proper. One can only imagine what Messrs. Wooster and Bassington-Bassington will turn topsy-turvy down there.

-Jeeves.

Good afternoon, sir

Allow me to introduce myself: I am Reginald Jeeves, personal valet to Bertram Wooster, esq. It is my distinct pleasure to write in this electric journal for the next several weeks to share with you the trials and tribulations of the Wooster household as we prepare for a little theatrical representation of our lives.

Yesterday, at tea-time, I had the rare (mis)fortune to meet Mr. Wooster's school-chum Mr. Eustace Bassington-Bassington, along with Mr. Bassington-Bassington's uncle, Sir Rupert Watlington-Pipps, Mr. Wooster's aunt, Mrs. Agatha Spencer-Gregson, and her god-daughter, Miss Gertrude Winklesworth-Bode, as everyone gathered at the new flat to discuss preparations for our little adventure. Also invited were a number of sir's friends, including (but certainly not limited to) Mr. C. Michael Orville-Wright, Ms. Tami Workentin-Snoose, and Ms. Judith Farnsworth-Martel, whose birthday was also being celebrated. I had set out a lovely luncheon of fruits, cakes, and cucumber sandwiches, which were summarily snapped up by all present.

We commenced to bat around a few ideas for our presentation, including how to dress up the flat to show it in its best light, which suits would be most preferable for sir to wear, and which furnishings should be used. We then set to reënacting a particularly engaging account of one of sir's misadventures with his friends and relations. This particular story almost kept us from enjoying a scheduled holiday in the Riviera, but it (once again) fell to me to keep Mr. Wooster's head above water, and in the end, all survived and went on swimming as if nothing had ever chanced.

After we concluded the skit, most of the guests returned to their homes, and the remaining few fell to relating stories of how and when we met, and what has happened in the intervening years. Sir Rupert regaled us with tales of the Jute business, Mrs. Spencer-Gregson took great pains to mold Mr. Wooster, Mr. Bassington-Bassington told of his life of leisure on the golf course, Miss Winkleswoth-Bode waxed rhapsodically on German philosophy, and Mr. Wooster sat, as usual, stunned. I, of course, took copious mental notes of all that was said so as to better explain it to Mr. Wooster in the morning, after the effects of his Martini had worn off.

We agreed our little tale of mistaken betrothal and false ownership would be a fanciful one for American audiences, and decided to meet again this afternoon to begin work in earnest. I will be sure to keep you up to date with all the goings on at the flat, as I am sure there will be plenty upon which to ruminate.

-Jeeves