Jillian Geurts started performing pretty young in musical theatre in Brisbane, Australia where she is from. After high school Jillian moved into the professional physical theatre world, training and working with the renowned company Zen Zen Zo Physical Theatre. She was very fortunate to get some great opportunities and be challenged and inspired by her teachers and colleagues during her time there. After that, Jillian moved to New York to pursue training at The American Academy of Dramatic Arts. Since graduating, she has co-founded a theatre company and worked steadily in theatre and film.
indieactivity: Did you study acting?
Jillian: My training has been extremely varied over the years, but it really began when I started working with Zen Zen Zo. I had seen them perform when I was 17 and it really changed my perception of what theatre could be! I was desperate to do what they did, to create the energy and profound, raw pieces I had seen them make. What I learnt was that it came from a lot of hard work, trust, sweat and determination.
I performed in my first extended runs of shows with this company, which allowed me to explore how to sustain passion and intensity and honesty in my work. It is a challenge that crosses into any genre of art, whether it is a play or a feature film or scene work in an acting class. I was very lucky to work with great teachers and directors at The American Academy, some of whom I have continued to work with professionally in New York. Discipline, humility and being easy to work with are what I try to bring to every project. Also, an open mind and willingness to learn from everyone and anyone in the room.
A new play by Wil Hart and directed by Michael Flynn, “The First Man” dives into the lives of three beings at three different moments in time, as their world’s collide, shatter and get pieced back together.
indieactivity: What acting technique do you use?
Jillian: I use a variety of techniques. I’m a Meisner trained actor, but the more I work, the more I understand that a high level of relaxation and trust is vital to my work. I do use a lot sense memory, writing, personalisation and imagery – but particularly for theatre, that has to sit on a foundation of knowing the text, the work and your given circumstances intimately. I try to never let myself off the hook, to always do this work on the character’s history and motivation, even for auditions. I try to take risks and make big choices in rehearsals to discover new things about the characters and the piece.
indieactivity: Do you take courses to improve your craft?
Jillian: At the moment I’m finishing off my Bachelor of Arts majoring in Sociology and History. This is my class at the moment – it’s feeding my brain and helping me to engage with our current climate, to understand people and to stay inspired in my work.
indieactivity: What acting books do you read?
Jillian: I really like Anne Bogart’s essays on theatre and acting. I recently read one of Ingmar Bergman’s books on his work, focusing on his memories and struggles and inspirations. One of the greatest artists in history was incredibly insecure!! I like to read great writing of any kind and literature… for me it all feeds my experience and my art.
indieactivity: How do you keep fit as an actor?
Jillian: I work out 5-6 days a week and I go to therapy. And I eat a lot of kale.
indieactivity: How do prepare for a role, when you get t?
Jillian: I read the script usually twice before I start to break it down. It helps for me to have a good sense of the whole before focusing on my character’s journey. I’ll look at what I say about me, what other characters say about me, how my perceptions and wants change. I try to start on a very visceral emotional level, and then as I get closer to performing or shooting, I’ll have a clearer understanding of a scene’s essence, and in fact my essence. Sometimes though, I do find it helpful to keep open minded about choices and motivations. Especially for film, there’s very little rehearsal time, and I find it helpful to allow the other actor’s to influence and change me.
indieactivity: How do you create a character from a script into a person?
Jillian: I do writing and journaling and image work, try to get inside a character’s world, their head, their history. Accent and physicality help too. Knowing the words so well that you don’t have to think anymore and can actually just speak them like a human. A really important thing for me in the process, which usually happens towards the end of it, is to find myself again within a character. After all the research and building, to find how I AM the character is what really brings it home for me. And THEN, I’m ready to begin… or not ready, and that’s okay too sometimes
indieactivity: How do you stay fresh on a production set?
Jillian: There’s no exact system here, I’ve seen different actors to wildly different things. But I try to be respectful of the space and the work during breaks, between takes etc. Especially if we are doing something highly charged, high stakes or emotional, it doesn’t help me to lose focus or check my cell phone or chat. I’m not rude about it, but I have to stay at least somewhat within the world, otherwise there’s a loss of momentum.
It possibly comes off as anti-social (in fact I’ve been criticized for it) but I don’t really care. That said, to sometimes take a breath, loosen up, get some water or a snack, can also be exactly what you need and what a scene needs, especially if it’s a long rehearsal or you are doing many takes. I guess my idea is do what you need, but also don’t be afraid to take a break and refresh too.
indieactivity: Describe a memorable character you played?
Jillian: I recently played Isabella in Measure for Measure, which was a dream. Like Juliet, she’s one of Shakespeare’s strongest, most complex female roles and a co-lead in the play. This role challenged me so much and was really a highlight of my career so far.
indieactivity: Explain one creative choice you took on set?
Jillian: In 2016 I worked on a film called “The Algebra of Need” (which just won a Jury Award at the Buffalo International Film Festival). There’s a very difficult scene towards the end of the film where another character has to dress me. I had to deliver a very strange, sexually graphic monologue and then the direction was “he helps you get dressed” or “you get dressed”…something like that. I was so exhausted and embarrassed by the confession of the monologue, my body went limp.
The Algebra of Need Dir. David Williams
I couldn’t help at all with the dressing and I just lay there while my co-actor tried to dress me (which is pretty hard with no cooperation). But I feel that this obstacle, my inability to physically participate, created such an interesting tension.. I didn’t want to be touched after the confession, but I also wouldn’t help myself. The result is this strange puppet dance, tense, full of resentment and shame, a disgust – and my co-actor helplessly helping me (and getting a little frustrated himself). It was so uncomfortable but I didn’t let myself out of it…. I think that was the right choice.
indieactivity: What do you want most from a director?
Jillian: I love strong direction, I don’t necessarily need a lot of freedom – or rather I find freedom within parameters. I need mutual respect, trust, good communication, vision and patience.
indieactivity: What actors do you long to work with?
Jillian: Lee Pace.
indieactivity: Why?
Jillian: He’s so grounded, dangerous, vulnerable, and hard to read… When I watch his work, I never quite know what he’s going to do or whose side he’s on. It makes him super interesting to watch.
indieactivity: What advice would you give to actors?
Jillian: Keep going, don’t get lazy, and keep your mind and your body active (even if it has nothing to do with art)… always work for your own happiness. This feels impossible some days, but I try to remind myself to do it, because what’s the point otherwise.
indieactivity: Briefly write about your career?
Jillian: During my early career I worked with physical theatre company Zen Zen Zo on multiple award-winning productions including “The Tempest”, “Cabaret” and the international tour of “Zeitgeist”. The training and discipline I gained with this company will always be a core part of my acting technique. Since graduating the acting program and repertory company at The American Academy of Dramatic Arts (where I was the Charles Jehlinger award winner for acting), I have worked closely with the Scranton Shakespeare Festival.
Rehearsing our opening set with Mollie Downes — in New York, New York.
Roles have included Juliet in “Romeo and Juliet”, Polina in “A Tale for Winter”, Isabella in “Measure for Measure”, and originating the role of Lady Anne in Douglas Carter Beane’s “Hood: The Robin Hood Musical Adventure”. With my company The New Natives, I have produced and acted in “The First Man”, “Camel” and the staged-reading of “Holy Day” by Andrew Bovell. Film work includes “Abnormal Attraction” with Malcolm McDowell, “Hell House II: The Abaddon Hotel” and two projects with director David Williams, “The Algebra of Need” and “The Geometries of Desire”. TV work includes The Mind of a Murderer.
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