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.

Meet Matt Daniels

A THOUSAND CLOWNS starts tomorrow! Today we hear from Matt Daniels who returns to MCT after playing British icons Jeeves in JEEVES INTERVENES and Phileas Fogg in AROUND THE WORLD IN 80 DAYS.  Later this season he will reprise his role as Jeeves in JEEVES IN BLOOM (April 11-28, 2013). Matt is also a budding 'ukulele master' and a member of the Milwaukee Ukulele Club.

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

Matt Daniels

Whew! So many. As an actor, I truly think that every experience goes toward making me who I am, but I'll try to break it down... The first play I remember seeing was a National Tour of THE KING AND I, with Yul Brynner, which come on! Yul Brynner!

I have fond memories of being in all my school plays, especially my fourth grade production of OLIVER!(I played Fagin). Other formative experiences include my first full Shakespeare play, ROMEO AND JULIET, in which I, as the youngest member of the cast, (I was in eighth grade and most of my cast mates were seniors in high school), played the oldest character, Friar Laurence. I played Bottom two years later, in A MIDSUMMER NIGHT'S DREAM, and I was hooked on Shakespeare.

I trained at The Juilliard School, in New York, where I studied with some masters who were truly fundamental in my growth as an artist: John Stix, Eve Shapiro, and Vanessa Redgrave were acting teachers; Ralph Zito, Elizabeth Smith and Robert Neff Williams for voice & speech, Barry Edelstein for Shakespeare, and amazing directors like Tom Hulce, Michael Kahn and Brian Mertes. Recently I've been teaching Viewpoints for First Stage Academy's Young Company, which never would have happened without my movement training at school: Moni Yakim for physical acting, Carolyn Serota for Alexander Technique, Ellen Lauren for Viewpoints, and Pierre LeFevre for mask.

After graduation I discovered the incredible world of downtown theater in New York City -- tiny, tiny storefront spaces, and great experimental and avant garde work everywhere! I was part of some great work in that downtown theater scene -- environmentally staged productions of the classics in public spaces with Gorilla Rep, and brand new verse plays by dizzying wordsmith Kirk Wood Bromley, among others.

Plus, of course, all the many, many moments that have made the hair on the back of my neck stand on end as an audience member: The Broadway premiere of Tom Stoppard's ARCADIA, Janet McTeer as Nora in A DOLL'S HOUSE, the bone chilling Broadway production of MEDEA starring Fiona Shaw. The Globe productions of CYMBELINE and CORIOLANUS, and David Cromer's revelatory OUR TOWN, and a 24 hour BALD SOPRANO at the first NY Fringe Festival. And many, many more.

Tell us about your first reaction upon reading A THOUSAND CLOWNS.

I loved that it didn't tie up in a pat little bow at the end; that it was layered, funny, poignant. Also, I was particularly pleased to find out I only appear in the first half! I'll get to spend the second act prepping for my next project (Plug alert!): 44 PLAYS FOR 44 PRESIDENTS at Forward Theater in Madison.

What’s it like being an up and coming ukulele master on stage?

Ukulele Master is overdoing it a bit, especially in light of the fact that we have a couple of true uke masters in our midst here in Milwaukee, in the persons of Lil Rev and Jon Prown. I've only been playing for a couple of years, but it has become a real passion of mine, and I have, of late, been trying to find ways to insert the uke into as many productions as possible! And now, here's one where it's actually called for, even if my character would never in a million years play. That said, it has been a blast taking my playing to the next level by arranging some tunes, and ultimately, forming a band with our own Beth Mulkerron!

From your perspective, how would you best describe your character?

Albert Amundson does everything by the book. He describes himself as "not one of the warm people," but that doesn't mean he doesn't care. He's a social worker, and cares very much for the children he's tasked with, and so he plays by the rules to ensure their safety. Sometimes this means that the other people around him get the short end of the stick, I guess, but he tries as hard as he can.

If your character could spend a day in Milwaukee, where would they go and what would they do?

He'd definitely check out the Art Museum, maybe the War Memorial. City Hall, too. Maybe a night at the Rep (or the BTC). I think he'd try to find out as much about the city as possible - one of those river tours, perhaps, or Old World Milwaukee at the Public Museum.