Q&A with ‘Metamorposes’ actor Nathaniel Claridad

Nathaniel Claridad, a UNC graduate student in dramatic arts, appears as various characters in PlayMakers’s rotating repertory “Metamorphoses,” including Silenus and Phaeton, and as an understudy for Trinculo in “The Tempest.” He spoke with staff writer Gabriella Cirelli about the process of the joint productions — both set around a pool of water — which close by Dec. 8.

DAILY TAR HEEL: What has been the most difficult part of the whole process?

NATHANIEL CLARIDAD: The most difficult and the most exciting part of the productions for me has been the idea of using the pool of water. It’s difficult to rehearse on a hard surface with, as is imagining what would happen to the plot in, a pool of water.

The addition has been very difficult but also very exciting — the stories make more sense with the addition of the water, and it was interesting navigating what was actually plausible and repeatable in front of an audience each night.

DTH: So have you had any mishaps involving the water?

NC: Nothing serious. One night during a performance I slipped on stage, though. I didn’t fall, but it looked like I hydroplaned across the pool. Slipping is always a very real danger around the pool, but luckily we’ve had no real mishaps that were frightening.

DTH: How has it been rehearsing for these two shows in such a short period of time?

NC: Once the show opens we have a much easier schedule, but during the rehearsal process it was pretty hectic. Sometimes you would be called in from 1-3 p.m., then you had off, then you were called again from 6-10 p.m. Or you would be splitting up your days between rooms and plays. When actors appear in both plays, they’re often switching plays in the course of one day.

Since I was an understudy in “The Tempest,” I had to sit in on those rehearsals, take notes, and watch and talk to the actor. It’s important for understudies to also be at run-throughs in the rehearsal rooms. We get basically one bug rehearsal then after that if they need us, we need to be ready to go. So I constantly kept the script for both plays in my bag and would always try to sneak in time to review them.

DTH: Other than juggling two scripts is there anything else different about these rehearsals?

NC: With these plays, you really have to go and just do it in the rehearsal room. Time is very precious — we’ve done two large plays basically in a span in which you would do one regular play.

So when putting out two plays so quickly, you just have to make bold choices from the very first rehearsal. You have to make a choice, and if it doesn’t work then fine, move on.

DTH: What do you hope that you as an actor gave to audience members in terms of a message for these stories and their productions?

NC: Well “The Tempest” is pretty linear in terms of its message about redemption and forgiveness, so it’s pretty clear in it to come away with those huge ideas with the way “The Tempest” is played. With “Metamorphoses,” it’s a little more up to the audience — it’s a mosaic of all these disparate stories that don’t necessarily connect on the surface.

That to me is the best part — leaving it up to you to start the discussion. This is such an old tale, yet we continue to look back towards it, and I think that piece of work reads us as people better than we read it.

It’s very telling of who that person is and what they need right now — my mother and father watched the plays very different than the college students did. They probably resonated more with the older couple, where as the younger crowds loved Phaeton and his inner tube. We recognize him — we probably have a class with him.

arts@dailytarheel.com