Getting into Character Before a Stage Performance: A Singer's Perspective

Understanding the Role of a Singer in Character Development

Singers are often mistaken for actors who simply have to hit the right notes for a performance. In reality, their work is more akin to an actor's. As Peter Wolf so aptly put it, “the weirdest thing you can do onstage is actually think about what you’re doing.” The majority of seasoned singers immerse themselves in their roles within the first two songs, drawing energy from the audience and staying in the moment. However, the process of fully embodying a character before a performance differs significantly based on individual practices and experiences.

The Seeds of Character Development

Before embarking on a grand tour or a major show, artists like Roger Daltrey of The Who and David Bowie demonstrated the importance of character development. In 1969, Roger Daltrey privately approached Pete Townsend with the idea of becoming the character "Tommy" and acting the part out on stage. Pete’s positive response led to a significant increase in Daltrey's confidence and vocal strength by the year's end. Similarly, David Bowie was known for skillfully assuming and acting out onstage personas.

My Approach to Character Development

For me, the characters come to life at rehearsals rather than during performances. The rehearsal phase is where I meticulously define the character. Through repetition, every movement, speech, and physiological response of the character is learned. By the time the performance rolls around, the entire range of the character's responses and behaviors has become a part of muscle memory. I hear my cues, speak my lines, stand where the character should stand, and move as the character moves. Wearing the character's clothes and carrying their props, everything the character does flows naturally and comes out almost effortlessly once rehearsals are over.

It’s important to note that the work to get into character mostly happens at rehearsals. Once this process is complete, I have the character fully fleshed out. In the final phases of rehearsals, I play each moment over and over, allowing the character’s responses to flow automatically. At this point, no additional preparation is needed on game day. If the character is not there by then, it cannot be summoned like a genie. My character work is about allowing the character to emerge from within me, rather than forcing it to happen.

Staying in the Moment

Even after the character has been fully developed, I rarely get to relax before a performance. The fear of appearing nervous often keeps me busy. I stay active to avoid the anxiety that can arise from sitting idle. Once on stage, the character's presence is so ingrained that I don't need to do anything special to bring it to life. It's a combination of preparation, discipline, and the continuous rehearsals that allow the character to be lived authentically on stage.

Conclusion

For any singer looking to fully embody a character before a stage performance, the answer lies in the dedicated time committed during rehearsals. It’s a process that requires patience, repetition, and a willingness to invest in the character. The character should not be something to be summoned but a natural part of oneself that emerges through the power of rehearsing and the unique experience of performance.