The World is a Stage
by John Vinopal
It is something I was born to do— honing my craft long before I had realized I had a craft to hone. As a child, I realized this gift manifested itself in moments of extreme annoyance, but I had a big audience and quickly developed a love for performing. I am an actor, and as of last year— after an almost 30-year absence— I am once again acting. As I look ahead to the roles to come, I can’t help but look back at what got me here.
It started in high school, and like most things at that age, a girl was the catalyst. That girl came and went, but the ham in me was fully cured and I was blinded by the theater lights.
I paid my dues in supporting roles, but thanks to some luck and a quickly developing relationship with the theater department head, the shows seemed to be picked for me. I played a Russian in Fiddler on the Roof; a Norwegian in I Remember Momma; and even a Japanese interpreter in Tea House of the August Moon. I was a witch boy in Dark of the Moon; A Frog Prince, and resident of Dogpatch, USA in Little Abner. I can safely say I was brilliant in every performance. I can say this, knowing video technology was nowhere to be found in those days, so there is no evidence to the contrary. Like the old saying goes: the older I get, the better I was.
My sisters remind me I was an insufferable egomaniac in those days, and almost 40 years later, I apologize. Actors can be difficult since we are usually self-absorbed and living in fantasyland. But I have learned that good theater is like good harmony. It is a collaborative art, and just as one bad note can ruin the chorus, an actor is only as good as the surrounding cast members.
So why the long absence? Ironically, what took me away was my decision to pursue acting as a career. I auditioned for and was invited to attend the American Academy of Dramatic Arts in Pasadena, CA. I had a rich uncle who lived in Los Angeles, and because there was little chance of a starving artist experience, I decided to try my luck in Hollywood.
To explain how crazy show business can be, The Academy invited talented actors from around the world and then proceeded to ignore their talents. I realize this approach was intended to work on our weaknesses; thereby, making us more marketable, but all it did was make me frustrated and homesick. Besides, these were out-of-work actors trying to convince me they knew the key to acting success. If they really knew the secret, what the heck were they doing in Pasadena?! I did get an “A” in my Mime Class, but when they forced me to wear a leotard for no apparent reason, I knew the end was near. So I packed my bags, headed home, and chose the road more traditionally traveled.
Thankfully, my daughter was the apple that didn’t fall far from my tree and became active in the Buffalo Grove High School Speech and Acting team, and brought her father along for the ride. I coached speech and acting during my daughter’s four years in high school and for several years after that. All the while, I longed to practice what I taught, and last year, I got my chance.
The Village Theater Guild in Glen Ellyn has been in operation for over 50 years. I appeared in their production of Other Desert Cities and quickly realized the hard work that goes into a live production was much easier to endure when I was 30 years younger. But despite the time commitment, I thoroughly enjoyed the experience and look forward to the next show. Best of all, the Theater Guild strictly forbids videotaping. As a result, I can safely say I was brilliant, knowing there is no evidence to the contrary.
The quality of community theater varies dramatically, but all are worthy of your support. If you have a free evening, see a show or better yet, get involved. The world is your stage, so play your part. Break a leg!
Back to John's Page
Can not be reproduced or used without written permission All rights reserved, copyright, 2014
by John Vinopal
It is something I was born to do— honing my craft long before I had realized I had a craft to hone. As a child, I realized this gift manifested itself in moments of extreme annoyance, but I had a big audience and quickly developed a love for performing. I am an actor, and as of last year— after an almost 30-year absence— I am once again acting. As I look ahead to the roles to come, I can’t help but look back at what got me here.
It started in high school, and like most things at that age, a girl was the catalyst. That girl came and went, but the ham in me was fully cured and I was blinded by the theater lights.
I paid my dues in supporting roles, but thanks to some luck and a quickly developing relationship with the theater department head, the shows seemed to be picked for me. I played a Russian in Fiddler on the Roof; a Norwegian in I Remember Momma; and even a Japanese interpreter in Tea House of the August Moon. I was a witch boy in Dark of the Moon; A Frog Prince, and resident of Dogpatch, USA in Little Abner. I can safely say I was brilliant in every performance. I can say this, knowing video technology was nowhere to be found in those days, so there is no evidence to the contrary. Like the old saying goes: the older I get, the better I was.
My sisters remind me I was an insufferable egomaniac in those days, and almost 40 years later, I apologize. Actors can be difficult since we are usually self-absorbed and living in fantasyland. But I have learned that good theater is like good harmony. It is a collaborative art, and just as one bad note can ruin the chorus, an actor is only as good as the surrounding cast members.
So why the long absence? Ironically, what took me away was my decision to pursue acting as a career. I auditioned for and was invited to attend the American Academy of Dramatic Arts in Pasadena, CA. I had a rich uncle who lived in Los Angeles, and because there was little chance of a starving artist experience, I decided to try my luck in Hollywood.
To explain how crazy show business can be, The Academy invited talented actors from around the world and then proceeded to ignore their talents. I realize this approach was intended to work on our weaknesses; thereby, making us more marketable, but all it did was make me frustrated and homesick. Besides, these were out-of-work actors trying to convince me they knew the key to acting success. If they really knew the secret, what the heck were they doing in Pasadena?! I did get an “A” in my Mime Class, but when they forced me to wear a leotard for no apparent reason, I knew the end was near. So I packed my bags, headed home, and chose the road more traditionally traveled.
Thankfully, my daughter was the apple that didn’t fall far from my tree and became active in the Buffalo Grove High School Speech and Acting team, and brought her father along for the ride. I coached speech and acting during my daughter’s four years in high school and for several years after that. All the while, I longed to practice what I taught, and last year, I got my chance.
The Village Theater Guild in Glen Ellyn has been in operation for over 50 years. I appeared in their production of Other Desert Cities and quickly realized the hard work that goes into a live production was much easier to endure when I was 30 years younger. But despite the time commitment, I thoroughly enjoyed the experience and look forward to the next show. Best of all, the Theater Guild strictly forbids videotaping. As a result, I can safely say I was brilliant, knowing there is no evidence to the contrary.
The quality of community theater varies dramatically, but all are worthy of your support. If you have a free evening, see a show or better yet, get involved. The world is your stage, so play your part. Break a leg!
Back to John's Page
Can not be reproduced or used without written permission All rights reserved, copyright, 2014