From quirky comedienne to startling indie actress, Jorjeana’s roles have varied extensively. Her most recent role, as the tormenting ex-girlfriend in “Listen to Grandpa, Andy Ling” starring Elliott Gould and Randall Park (Dinner for Schmucks) has propelled her forward, stretching from the usual sweet and funny to “hilariously disturbed”. The story is by Jason Venokur from “Third Rock from the Sun” and produced by Rafael Marmor, also producer of the comedy series “Svetlana”, which stars a variety of Hollywood’s elite comedians as well.
As a veteran stand-up comic, Jorjeana has opened for some renowned talent, including Louis Anderson, Richard Lewis and Louis CK. And after penning three one-woman shows and performing them throughout NYC, it’s an easy move to begin filming some of these characters from her stand-up routine and solo shows. Jorjeana’s next multi-hyphenate project “Over Due” is a cross between a Tracy Ullman show and ‘Curb Your Enthusiasm’ and focuses on her ability to create a variety of smart, funny and distinct females and one Sarah Palin.
Additional roles include a lead voice-over role in an untitled Steven Spielberg project, hosting ‘Date Night’ on AMC, regular hosting ops at the Hollywood Improv, a role her mother hasn’t yet seen on ‘Chappelle’s Show’ and a fully improvised part in Ashton Kutcher’s “True Beauty’ on ABC.
@kathleenmadigan So honored to know and #standup with a #comedy legend #happy pic.twitter.com/0rtKavvdgB
— JorjeanaMarie (@jorjeanamarie) June 10, 2014
Jorjeana shares her passion for improv by teaching at The Acting Center and performs in the house troupe The Really Spontaneous Theatre Company. She is involved in many charitable organizations as a host and comedienne including: Gilda’s Club, Comedy Cures, Comedy Fights Cancer, Paul Newman’s Double H hole in the Wall and The Hollywood Arts Society.
Did you study acting
Studying acting and related arts has been a big part of my path. I think there was a certain time with improvisation that I thought doing some live shows meant I could improvise on stage with anyone. And maybe there’s some truth to that if you have a great team of improvisers good at holding up a wobbly leg-which is definitely what I was at first, an enthusiastic, but wobbly leg. I didn’t realize yet that there were rules and a way of doing things on stage that made the experience a heightened activity and, dare I say, art. I was like a happy puppy until I figured out those rules. And turns out the rules of improv have helped me live a more meaningful life. Useful skill, studying and performing improv, and I’ve had the opportunity to play and teach all over Los Angeles and New York. Took that imaginary ball and ran with it. But whether my studies at Improv Olympic, The Groundlings, Upright Citizens Parade, The Harvey Lembeck Comedy Workshop or any of the other great places, I also had extensive theatre training as a foundation and years of plays in New York, Off Broadway, Off Off Broadway and muy experimental. I studied with award-winning iconic Gene Frankel for years in NY as well as Groundlings founds Gary Austin. I also attended NYU’s TISCH School of the Arts, but for Dramatic Writing. What an amazing program that was!! Only helped the acting, knowing, learning the scripted word, all it’s nuts and bolts. I am currently at UCB again and with Steve Eastin.
What acting technique do you use
When the curtain parts or the scene begins, I do my best to live this other life, fully in the here and now of this other world, committed fully to having a real experience within this world. As Shakespeare says, holding a mirror up to life?? I try to do that. Honestly.
What wrong impressions do actors hold about acting
Acting is not representing certain emotions and cues at specific times within the script. Acting is getting to a point where you are feeling what you are supposed to be representing. If you are “acting” an emotion, then you are not successfully acting. The paradox with the art of acting is the word itself. Acting is not what an actor wants to be doing with a role. The true art of acting is getting in the depths where you meet the character and give yourself to the character and feel what the character is feeling. You are fully connected with the story. You are not acting to please an audience.
Do you take courses to improve your craft
Absolutely, like I mentioned, often studying, by tI find, branching out and trying new things only helps me as an actor. I’m taking guitar lessons now. For pure fun. But I’m also working on a character who plays guitar. I’d like to be the actress who doesn’t need a double for that. If I’m playing a character that is a painter, to be sure, I’m taking some painting lessons. Why not? That’s so much fun, that’s what I love about acting. To be so immersed in the moment, because I’ve done enough work on the character, that I can be free to explore and find new territory to surprise myself and others around me.
What acting books do you read
I really recommend for voice actors or people wanting to break into voice acting, which I do get asked a lot: The Art of Voice Over by James Alburger.
How do you keep fit as an actor
I find meditation extraordinarily helpful. Sometimes I just sit and close my eyes and focus on my breathing. Count in for 2, double the exhale to 4, count in for 4, double the exhale to 8, this helps me get to a centers, calm, ready for anything place. I used to do vigorous activity beforehand, but turns out I’m kinda manic in stand-up so the perfect balance for me is to center myself and meditation does that for me. I also regularly do yoga. When I’m traveling there are poses that help recover from jet lag so I can be good to go on set or at the recording studio. And when I’m not a lazy bum, a run is great!
How do you prepare for a role
I like to get as familiar as possible with the words, as close to memorized as possible, but without planning out what I’m going to do, so that in the moment, I let the words carry me and my commitment to the character and to being present can take me beyond anything I could have planned.
How do you make a character believable
I decide to be someone else and commit to that. I try to understand them as best I can from the script, and then go for it. Sometimes they may be a character that is close to me, but I am not the actor interested in just being myself. I want to be someone else as naturally and believable as I am myself. But I want to morph, change, have a different experience than my own-that’s what pulled me like a moth to a flame when I was a kid. Pure play. Being the princess, the knight, the troll , the elf, the grandmother, the bully. Probably this is why I am so taken with voice-over. It is not about what you look like and I get to play the same way I did when I was seven. It’s a genius art and I’m so grateful for the rewarding experiences I’ve had within it!
How do you stay fresh on set
I ignore everyone and hide in my trailer! I’m kidding!! I tend to stay in character between takes. After breaks or lunch I take a little time to refocus before starting up again to get centered. Reviewing the script always helps-sometimes I see something I hadn’t noticed before.
Describe a memorable character you played
I loved playing Jill, the crazy ex-girlfriend opposite Randall Parks in Listen to Grandpa Andy Ling (Grandpa was Eliot Gould).
Explain one creative choice you took on set
I played Eve, an alien in a Steven Spielberg video game called the LMNO Project. Mr. Spielberg’s vision was this character spoke an alien language as well as English as well as a language with only crude sounds, gibberish, and it was up to me to convert emotion, attitude and meaning in these three ways. A challenge? Yes. And I think I made a lot of creative choice working on his vision like that. Extraordinary vision and extraordinary experience. I’ll never forget it. A highlight of my creative life that I wasn’t able to talk about because of confidentiality agreements. But amazing.
What do you want most from a director
Great communication. A powerful vision. I want to work with someone who has a strong, passionate idea of that they are creating and what they want and can communicate that to me.
What actors do you long to work with
Phillip Seymour Hoffman. I know…
Why
Because he would transform, he would totally become each character in a deep, unforgettable way.
What advice would you give to actors
I would say, if someone asked me my two sense? To travel. To meet people. To talk to them one on one and not just observe them, to get out there and dig around into our fellow humans lives in the most gracious, respectful way, if they will let us. Because people are SO interesting. And I only learned that by looking past my pre-conceived idea of the person whom I was about to talk to, what I thought they would sound like or they might be like, but once I got in there, gained trust and asked the questions they would open up to, I learned a bit about what it means to be human. What do you care most about?”, “What is something people don’t seem to know about you but you wish they would?’ , “Where are you from (and if far from it) do you miss it?”, Do you sleep well at night? etc. I don’t know. Anything to understand other people better.
Briefly write about your career
As an award-winning professional in this industry I have gained an extensive amount of experience in stand-up commercials, film and television. In fact, I have been fortunate enough to work alongside or open for some amazing talent such as Dave Chappelle, Louis CK, Kathleen Madigan, Louis Anderson, Richard Lewis, Elliott Gould, Randall Parks, Tina Fey, Robin Williams, Jim Carrey, etc. Being around some of the greatest comedy minds has only renewed my interest in finding the funny, lighter side of life and work. They have inspired me and encouraged me to continue with stand-up, acting, improv, Shakespeare, etc. And now I am thrilled to be creating my own sketch comedy show while in the midst of being the voice of The Nancy Drew Diaries, Travel Channel-Asia and narrating dozens of NY Times Bestselling Authors. It’s a grand life. And I’m so very grateful for it!! Woot woot!
