Jason Heil is currently directing and starring in THE LION IN WINTER for Moonlight Stage Productions in Vista, CA. He is also a graduate of the MFA Acting program at the University of California, Irvine. He recently took some time out of his busy production schedule to answer a few questions for URTA.

Welcome, Jason. Thank you for taking a moment to speak with URTA. You’re a prolific actor and director (and in this project you’re both). Do you have a preference for one over the other?

Honestly, I prefer going back and forth. They are two different muscles. As an actor, you try to immerse and be present and do your work. It’s not your job–or place–to worry about all of the other details. As a director, you’re looking at the big picture. You are trying to create something whole out of dozens of elements.

What are some of the challenges in both directing the play and performing the lead role? Do you miss having that extra collaborator, and how have you managed (if at all) to “replace” the objective feedback and/or outside inspiration that collaboration provides?
It was my first time and it was a big challenge. As an actor, you’re trying to just be present. As a director, you’re watching and observing. It’s very hard, if not impossible, to do both at once. I was blessed with an amazing, supportive cast and crew who were very flexible as I experimented with different methods. Usually, I direct with a yellow pad in hand, scribbling notes. For this, as we finished each scene or run-through, I would bolt over to my script and talk through it page by page with the cast, trying to replay what we had just done and what I had observed. They were very patient as I would silently look at a page for a minute and then look up and say, “Sorry, I was giving myself notes there.” I also had several trusted “outside eyes” come and watch run-throughs. That was invaluable. When you’re in it, you miss some of the big picture thinking. Later in the process, I devoted some run-through to be just “actor” runs.

You have a deep background in Shakespeare. How has that prepared you for taking on The Lion in Winter; while it’s not classical prose, the period, themes, and characters have a lot in common with Shakespeare’s histories.

Absolutely. You have all this rich, historical data to explore with these legendary characters. At the same time, Goldman intentionally infused the play with a contemporary sensibility, and frequently reminded me of Aaron Sorkin in his intellectual banter. I always say Shakespeare for actors is like ballet for dancers–you can’t do it without learning fundamentals that will be invaluable in whatever other material you subsequently explore.

Lion boasts rich, compelling characters, plenty of familial and political intrigue, as well as historical drama. But, as you point out, author James Goldman infuses the play with a lot of contemporary resonance as well. What would you hope the audience comes away with after seeing your production?

I hope they have a good time. It’s a pretty funny (though frequently vicious) play. Two of its major themes are legacy and family–What do we leave behind when we die? Even if you create “the greatest empire in a thousand years,” so what? Where does family live within us? Even if you don’t like your children or wife, can you remove them “like warts and goiters” or, as Henry says at the end of the play, “Children…are all we have.” I think those explorations are something that all people can understand and recognize.

Jason Heil and Dagmar Krause Fields in THE LION IN WINTER at Moonlight Stages. Photo credit: Ken Jacques Photography

You’ve had a thriving career for many years, having played great roles at theaters all over the country. How have you drawn on the training you received at UC Irvine’s MFA Acting program, over the years?

UCI gave me a wonderful skill set, as well as connections and opportunities early in my career. [Founding Chair] Robert Cohen also gave us a wonderful class on Professionalism, which had a big impact on my career (and one that I now teach to many of my students). One thing I’ve been fortunate with is that I am frequently asked to return to a company once I have worked there. I think that is one of the building blocks to any career.

What drove you to go to graduate school, as opposed to simply diving into pursuing work, or studying at an acting studio?

The skill set and the ability to teach. A casting director once said to me, “I have to have a cut-off somewhere when I’m looking at resumes. If I see a MFA from a good program, I know before the audition that actor will be able to vocally fill our 700-seat house, do stage combat, assume dialects, etc. Then I will call them in and see if they are a good actor!” As a young actor, I felt I had some talent, but not a whole package. After grad school, I felt I had a great skill set. Since then, I feel like I’m constantly learning as an actor. I still take acting classes. We have some great directors here in San Diego and I try to be open to new ways of thinking. I also now teach at Cal State San Marcos, where it is a big asset that I am a working actor. But I wouldn’t have been able to step in the door without the MFA.

A common issue our members see with their graduates just coming out of school is learning what their casting type is. They’ve just come from an academic setting where playing outside of their type is part of their training, but as they enter the professional world they may not have a firm grasp on what roles they’re best suited to. Did you have a similar learning curve coming out of school? How did you move through it?

I had a pretty standard type, so that wasn’t a huge issue for me. The biggest struggle for me was the transition to Equity. I went from the top of the non-union types in my category to the bottom of the AEA pile, suddenly auditioning against guys with Broadway and major regional credits. After a few years, it evened out, as I got more and more work. But it definitely showed me that I had to raise my game and not assume anything.

You play Henry, a character that is 50 years old. While you as an actor are not in your fifties, do you see yourself beginning to enter a place where more mature roles are coming to you?

It is definitely a new experience, as I have typically played younger than my age. I have definitely reached the age where I’ve probably missed the opportunity to play a few bucket list roles. But as with most actors, I’m just grateful to play any roles that are challenging, daunting and fun.

What was the transition from MFA program to the professional world like for you? How did you go about getting your first jobs/foot in the door/etc. and what advice might you give to a young actor just coming out of school?

For me, I was fortunate to head straight into the Shakespeare festival world. I did 9 summers of Shakespeare in Utah, Marin, Lake Tahoe and Texas. That, and a few shows at [noted Los Angeles theater] A Noise Within, definitely anchored the classical side of my resume. I felt I made a mistake in going to Los Angeles instead of New York City, out of grad school. I decided what I was going to do before I did my showcase, and even though I got more nibbles (and was probably a better fit) in NYC, I went to LA. While I was there, I kept trying to focus on theatre. It was only after I moved to NYC a few years later that my career really fell into place. Advice? Follow your showcase. You only get a short burst of momentum coming out of grad school. Squeeze it for every bit of opportunity that you can. And most important: Do your work, Do your work, Do your work. You can’t control casting. You can’t control the business. But if you do your work and are always improving, it will pay off. Also–create your own opportunities. I was feeling a bit stuck in period pieces and musicals, so I helped initiate a production of a contemporary play (Three Days of Rain). It allowed people around town to see me in a different light, and soon I was being considered for, and booking, entirely different kinds of shows.

What’s next for you?

I’m part of an exciting project with ion theatre company (yes, all lower case) in San Diego. We are workshopping four original plays over the course of the year. In April we will pick one, mount it as a full production, and take it to perform in June/July Off-Broadway at the Peter J. Sharp Theatre at Playwrights Horizons! Even though we are only choosing one piece, the goal is to have four production-worthy pieces to give to the American theatre by the end of the season! Very honored to be a part of this company.

We certainly wish you the best with that and your other future endeavors. Thanks again for taking the time to chat with us, Jason!

Jason Heil is an AEA actor, director and professor living in San Diego. As an actor, Heil has performed at the Old Globe, La Jolla Playhouse, the Arkansas, Tennessee & San Diego Repertory Theatres, and nine seasons with the Utah, Lake Tahoe, Marin and Texas Shakespeare Festivals. He teaches theatre at Cal State San Marcos. www.jasonheil.com