Interview with African American Actor Michele Lyman

Hi welcome to Michele Lyman‘s world. All Michele Lyman ever wanted to do as a little girl was become a professional singer. Michele Lyman sang any and everywhere. After Michele saw the movie “Fame” she became obsessed with getting into Music and Art High School as a voice major. The day of her audition was nerve-wracking, she wanted to get into that school so badly. When she was accepted that’s probably the first time she felt euphoria. It was a fabulous 4 years. One day some students from the acting department came into Michele Lyman’s class and did a scene – “I can’t remember why”, she recalls – “but I do remember being totally entranced” and she thought to herself “I wonder if I can do that”. When Michele Lyman went to Sarah Lawrence College she auditioned for “Song Class” which was a part of the Workshop Theatre, she started adding more and more theatre classes to her class schedule. When she was a freshman, her very first acting part was as Terry in the play “Balm in Gilead“.

Short clip from Episode 1 of Find a Way Web Series shot during January’s AGR 72 Hour Shoot Out #actorslife pic.twitter.com/2jnochZ1xH

— Michele Lyman (@MicaelaMyBelle) January 28, 2017

Did you study acting
I was very active in the Workshop Theatre at Sarah Lawrence College (SLC). I had Auditioning & Character Development with Harold DeFelice; Improvisation & Movement with John Braswell and Shirley Kaplan and Monologues-Scene Study with Dave McRee. I also ended up switching my Don (at SLC that’s the equivalent to an advisor) and asked Dave McRee to be my Don. I just loved him and that theatre so very much. And, because I was also a singer I performed in musical theatre shows. When I graduated college, I took a commercial class and found a voice coach to help me with my musical theatre auditions. I worked a full-time day job as an Administrative Assistant, so I really had to hustle in order to go to as many auditions as possible on my lunch hour — it was stressful running through the city, praying I could get in and out and be back to my desk on time.

Just completed my first VoiceOver gig, as the introductory voice for a new TV show coming out. Nice, easygoing experience! #actorslife pic.twitter.com/BTe6JMtRQb

— Michele Lyman (@MicaelaMyBelle) December 19, 2016

What acting technique do you use
I don’t think of myself as using a specific technique. It’s probably just an accumulation of everything I’ve learned over the years. I’ve read Meisner, Stanislavski, Uta Hagen. My goal nowadays is not to think of a specific technique but to simply tell the truth of the character and remain in the moment of the scene. This is sometimes easier said than done, but it really involves getting out of your head and just flowing. The more I understand the text and the character, the more I’m able to do this, which is why I’m very big on reading the script and thinking about it as much as I need to, to internalize the story. Once I understand my purpose, I just try to go with my instincts and stay present. I’m still reading and learning, but when I’m performing I try to just let it all go and trust that whatever I need will be available to me when I need it.

What wrong impressions do actors hold about acting
I don’t know what people’s impressions are of acting, but I can say that it is not just saying words. It is not pretending to be someone else. When you just “pretend” you may be lead to be overly dramatic, to do a lot of “indicating”, instead of feeling. Acting is not pretend, it is finding that sliver of you, no matter how small, that can identify with the character you are playing, and telling their truth.

Short Film “Vigilantes” – early acceptance into the Festival #actorslife pic.twitter.com/4TMV6qel6p

— Michele Lyman (@MicaelaMyBelle) October 13, 2016

Do you take courses to improve your craft
I’ve taken casting director workshops and gotten mostly good feedback, sometimes incredibly good (for instance the very first workshop I ever participated in, the CD actually said “Damn Girl! I have a part I think you’d be perfect for in a film I’m working on”. She actually told me the name of the director (a famous one), asked for all of my contact information and wrote that and other notes on my resume. I left that workshop feeling like I was floating. I never heard from her.

I did an agent night a while back, 10 agents in total, 5 in each room. I chose to do 2 different scenes for each group of agents to challenge myself and also to see which one resonated more. When I received my evaluation sheets back, I received great feedback on my scene choice(s), clothing, delivery, headshot and talent overall, some of the comments were really flattering. Again, I was floating. I just knew I was going to snag an agent out of that. Never heard from a single one of them. It can be very discouraging to do good work, get great feedback, and then silence.

I’m trying more and more to focus on the craft itself. I know networking etc. is necessary in this day and age, but one of them makes me feel fully alive and the other one . . . doesn’t. I finished a 12 week Film/TV course at the Barrow Group with K. Lorrel Manning (it’s really a 6-week course for parts 1 and then another 6 weeks for part 2, 3 hours each class– I chose to take both because I love the teacher’s style and I learned a lot). I also took Improv at the Upright Citizens Brigade. It’s an 8-week class, 3 hours each class. I loved it. It takes you out of your comfort zone and you’ll learn a lot if you allow yourself to be open and have fun.

What acting books do you read
Currently I have read Uta Hagen “Respect for Acting“, and the “UCB Comedy Improvisation Manual” and I also listen to Tina Fey’s audio book version of “Bossy Pants.” Before that, I read “Secrets of Screen Acting” by Patrick Tucker, “Acting in Film” by Michael Caine and “Notes to an Actor” by Ron Marasco.

How do you keep fit as an actor
I’m a praying woman, that’s my mental food of sustenance. I want to start meditating but that takes real effort on my part to carve that time out, and I just have not done it yet. I sometimes jump on my rebounder (although I’m guilty of not doing it as often as I think I should), and that also goes for lifting my Kettle bell. I love to walk, and I walk as much as possible. And, it helps that I adopted a rescue back in June, so that adds to how much walking I get in — and my dog just loves to walk also.

How do you prepare for a role
I read the script once through to get the whole story. Then I read it again paying more attention to my character’s role in the story. Then I start to focus on my character’s lines and where they’re at emotionally within those lines. I don’t move on to another set of lines until I fully understand the dialogue before it. If I understand what’s going on within the character and the scene then that makes it easier to memorize the lines.

How do you create a character from a script into a person
Once I understand why the character is in the scene, their motivation, what they want, why they’re even saying what they’re saying I focus on memorizing the lines. I just say them over and over, changing an inflection, the tone, the volume, whatever. I don’t want to get stuck in saying the lines only one way, because then if a director gives an adjustment it’s harder to break your pattern. But I find that the more I say the lines aloud while trying to memorize, the more the character starts to come to life. The best part is when a line comes out without any preconceived calculation and it just feels right. And you’re like yes! That’s exactly how that should go. The discovery of something new in a line is thrilling.

How do you stay fresh onset
Focus. If lights are being re-arranged, or the boom needs to switch positions, whatever, I just stay quiet and let them do their thing until the director says action. Now of course if the director is communicating with me then I listen and respond. And sometimes a joke will be made and of course I laugh. I know I can be intense as a person anyway, so I don’t want anyone to feel uncomfortable around me. I can schmooze if that’s called for, and my laughter is quite hearty. But if I’m on set and just waiting for an adjustment of some sort before I have to go again, I make an effort to stay focused and quiet so that I can be ready to go once I hear the words “action!”

Describe a memorable character you played
I haven’t played a very memorable character yet. The best is still to come for me.

Explain one creative choice you took on set
Sometimes there is no specific direction, just things like ‘give me a little more’.

What do you want most from a director
To know what they want, what their vision is, and to know how to communicate that without giving me a line reading — to trust me to find it in my own way. If I’m having trouble I appreciate guidance but first I’d like to be trusted with my craft as an artist.

What actors do you long to work with
Viola Davis

Why
Oh my goodness the talent in this woman! I’d like to think I’d become better at the craft just being in a scene with her because I wouldn’t want her to show me up too badly.

Cast of #InDefenseofGlitter&Rainbows @nuyoricanpoets #actorslife pic.twitter.com/K6Vx9nr3F5

— Michele Lyman (@MicaelaMyBelle) May 11, 2015

What advice would you give to actors
If it’s what you want to do, do it. You never know when your time on this earth is up. I took a very long hiatus away from the biz to focus on raising my daughter. When she started going to school I wanted to be fully present to help her with her homework etc. But the desire NEVER left me. When I left I was in my 20s and slim. Now I’m older and not so skinny. I struggled with the decision to return for a long time, questioning whether or not I would have a legitimate chance to make it in this biz. On one hand I wish I wouldn’t have waited so long, but on the other hand (and more accurately) I believe I needed that time to grow, experience, toughen up, live through some stuff. I’m way more confident than I was in my 20s, and I think that helps me in many ways. Confidence is key in most situations. Also, I’d advise to take what people say with a grain of salt — that goes for both compliments and criticism. Out of the ten agents I read for, 9 of them really liked the headshot I was using at the time, and some said they loved my headshot. 1 wrote that he really didn’t like it at all. Everyone has an opinion, that doesn’t mean they’re right or that what they think is applicable to you. Know who you are, what you want and go for it. In the end, I decided that it was better to jump on in and give it my all, than to spend my days wondering what could have been.