Actor, teaching artist, and URTA alum, James Knight, took some time to speak with URTA about the life of the professional actor, post-graduate school.

How important would you say that training has been to you in your career?

It’s hard to quantify something like that because it’s apparent in almost every facet of my career. The training I received helped me prepare for auditions, book jobs, and walk in the first day of rehearsal with a confidence and eagerness that helps me excel at the job. All of that is in addition to the fundamentals and technique that have helped me to work in a variety of locations with a variety of directors. I make my living as an actor. Without training I probably wouldn’t be able to say that.

How would you describe your time in graduate school?

It’s amazing how hindsight can change your perspective. Overall, I enjoyed graduate school while I was there, but it was definitely an intense, rigorous and challenging experience – even to the point of being frustrating and miserable at times. But that immersion—working on shows all the time, sharpening and honing my craft, and hanging out with actors and teachers who are constantly changing the way I think about acting and art—there is nothing else that really comes close to that. As someone who’s been out of that for some time now and has faced some of the harsher realities of the real world, I often look back on that time and have to laugh at myself because I didn’t know how good I had it.

What is your greatest memory from your time in school?

That’s hard to narrow down; there were a lot of great ones. In my second year I was in a production of Mike Leigh’s Ecstacy. It was an incredibly depressing show. As an actor, however, it was an amazing experience. Once my friend and I came on in the second act, we were onstage (in basically a four hander) for over an hour and a half with no breaks. Having to inhabit a character for that long of a time in a focused, intense and naturalistic show—it was a gift for an actor working on their craft.

How do you prepare for auditions?

I am almost always totally off book for every audition, ready to bring my own choices and work with the director in the room if they ask for it. Being on solid ground with the lines gives me an extra boost of confidence. But being memorized also means that I work A LOT on all my audition sides. The more time I have, the better – but I will spend good chunks of each day working them, running them, bugging my roommates and friends for help, mumbling them out loud in the shower in the morning – I even fall asleep running lines for my auditions. Then I get it done and forget about it. Sometimes letting myself forget about it is the best part of auditioning.

Do you approach classical roles differently than you do contemporary ones?

There are a lot more reference points for classical roles than contemporary ones. You can watch a myriad of different film versions of Hamlet or Macbeth; there probably aren’t many (if any) available for the contemporary project you’re working on. And unlike a lot of other actors, I love to see what other people have done with roles. Once I feel like I have my own point of view about the character, I’ll start sifting through old movies, books, YouTube clips, etc. I’m not looking to steal choices, but there will invariably be some moment made by an actor that I hadn’t even considered. Different choices, options, perspectives—it all gets filtered through me and the director for that particular project. That information is out there, why not take advantage?

Do you have a dream role–one character you’d really like to play?

Well, if you are talking about the entirety of fiction and literature then its Beat superstar/lunatic Neal Cassady. But if you’re talking about plays that have already been written, then it’s probably John Proctor in The Crucible. Or Coriolanus. Maybe Katurian in The Pillowman. Hmm. This answer changes a lot. I used to want to be Spider-Man.

James Knight in I AM THE MACHINE GUNNER

What should an acting student look for in a training program?

You need to make sure that the program’s philosophies are in line with your goals as an actor. Be honest about what you want and what kind of actor you want to be. Do you want to focus on film? Theatrical classics? Devising and producing your own work? Make sure that the faculty and facilities at your prospective school align with your needs as an artist.

An agent showcase at the end of your training is also a huge plus. Having a chance to meet with representation in a major market is a huge help when you are just starting out. Your graduate bubble is about to burst—some help networking out of the gate can soften the blow. A little.

What advice would you give to someone who has just graduated and is about to embark on their acting career?

[laughs] That implies that I’m doing it right.

Saying “Yes” to every job offer and opportunity is a great idea when you are just getting started. It expands your circle and keeps your skills sharp. But after a while you have to start asking yourself what exactly you’re getting out of the job. Artistic fulfillment? Connections? Money? Most of the time you are going to want to hit two out of three of those to make it worth it. And always check in with yourself to make sure that taking the job fits into your long term goal of becoming the actor you want to be.

Thanks, James–excelsior!

Since graduating from University of Missouri-Kansas City, James has made his living working as an actor in regional and international theaters, commercials, voice-overs, television and film. His most recent credits include Abundance at Hartford Stage and a recurring role on CBS television’s Person of Interest. When not performing, James is a teaching artist with the Hudson Valley Shakespeare Festival. He lives in New York City with his wife and daughter.