LIZ MAMANA will be seen this fall as Constance in THE CONSTANT WIFE at Barksdale Theatre in Richmond, VA. Other recent regional credits include Margaret in MUCH ADO ABOUT NOTHING at the Folger Theatre, Maggie in LEND ME A TENOR at Olney Theatre Center (dir. Jack Going) and Betsy in Ari Roth’ s OH, THE INNOCENTS at Theater J. She was profiled in the Spring 2005 issue of Washington Theater Review magazine. Liz recently played the role of Marta Goessl in the ABC (Disney/Touchstone) pilot TWENTY QUESTIONS, directed by Michael Engler. She has appeared in numerous national network commercials and is an accomplished voice over artist. Recently, Liz was seen in the Virginia Lottery APPRENTICE commercial with Donald Trump and heard on the Virginia Lottery radio campaign. She can be seen in films such as Still Breathing, Listen Buddy and Lamb to the Slaughter (AFI). Liz frequently works on-camera in industrial films for clients including Booz Allen Hamilton, Comcast, the Department of Homeland Security, the FBI and the IRS. Theater credits also include Williamstown Theatre Festival, Hope Summer Repertory Theatre and Los Angeles theaters such as the MET Theatre, the Globe Playhouse and the Stella Adler Theatre. Liz graduated from the University of Virginia with a B.A. in Drama and also trained at the British American Drama Academy.

Interviewed by Joanna Parson

Describe the Washington DC acting scene. Is it possible to make a living solely as an actor in the DC area?
DC is a great place to work, but of course there are a lot fewer jobs in DC than in bigger cities like NY or LA. DC has a large and thriving theatre community. All of the larger theatres in DC cast out of both DC and NYC. Making a living solely as an actor? It can be done, but just like anywhere else, it is no easy feat. I think most of the actors who are able to make a living solely as an actor in this market do a lot of voice-over and industrials.

In your opinion, what type of actor would thrive in DC?
As with any other market, I think an actor will thrive in DC who is skilled, focused, and a self-starter. It is also useful to recognize that it is very much a “community” and like in any community, it is important to be generous with and amiable to those around you.

Does an actor need an agent in DC?
There is no representation for theatre -work in the D.C./Baltimore market, but there is for on-camera work. There are some good opportunities with TV shows and films that come to town, as well as commercials and industrials.

How easy is it to be seen for projects that are being cast mostly out of the big hubs, New York or LA? Can you remain in DC and be seen for major projects?
Generally, you will not be seen unless you have representation in those markets. When one of these projects comes to town to shoot, though, they frequently will do some casting here which is great for the local talent pool.

This spring, you played the role of Marta Goessl in the ABC (Disney/Touchstone) pilot Twenty Questions. Tell us about the show, and the casting process.
The local casting for Twenty Questions was done by Pat Moran and Associates in Baltimore (Pat’s office also does the casting for HBO’s The Wire.) They asked me to audition for the role of Marta, explaining that if the show were picked up it would shoot in LA. The first read was taped in Pat’s office and sent to the producers in LA. I then was asked to come back in and read for the show’s director, Michael Engler. I worked a few days on the show and it was a really enjoyable experience. The pilot had a strong cast (including Jesse Bradford, John Heard, Ben Shenkman and James McDaniel), a great concept and a really compelling, page-turner of a script by Thomas Hines.

You grew up in the Washington DC area. How did you first become involved in acting? When did you know you wanted to be a professional?
I started ballet at a young age and was always performing as a child. Some of my finest performances took place in the basement of our home growing up! Fortunately, my parents had a lot of patience and they were very supportive. We saw a lot of theatre (both in DC and NYC) when I was a child. Both of my parents have siblings who are in the business, so I don’t think my calling was particularly shocking. I cannot recall a time when I didn’t know that this is what I wanted to do. I remember going to see ROMEO AND JULIET at the Folger Theatre as a child, and thinking “one day I will work here.” Last season I did, playing Margaret in MUCH ADO ABOUT NOTHING – that was pretty special.

You went to the University of Virginia. Why did you choose UVa? Did you ever consider attending a conservatory training program for acting?
I think my well-rounded liberal arts education has served me very well. I also think most of us speculate about what path our careers would have taken if we’d gone a different route (conservatory vs. liberal arts vs. straight into the profession.) I certainly sometimes envy actors who had the conservatory experience, but I do think it’s how you utilize the training you receive, added to the opportunities you seek and the experiences of your life, that make you the actor you are. I have to add that I have such wonderful friends from my years at UVa, and I had great experiences in the UVa theatre department – a lot of incredibly talented people have come out of that program.

You were an apprentice at the Williamstown Theatre Festival. What was that experience like? What should young actors know about apprenticeships/internships?
My summer theatre experiences during my college years were absolutely pivotal. WTF was a life-changing experience. Young actors need to know that as an apprentice or intern, you will work really hard, you will not sleep much, but you if you are lucky, you will get great opportunities and have the time of your life. I got to perform at Williamstown in THREE PENNY OPERA with Betty Buckley and that was unreal…I was 18 years old and I was learning from some of the finest talents around. I also was fortunate enough to spend time with Blythe Danner who was a huge inspiration to me.

You also attended the Midsummer in Oxford program at the British Academy of Dramatic Art. How did you get involved in that program and how did that experience add to your training?
Actors and teachers with whom I worked at Williamstown recommended the program at BADA to me. I auditioned for the program in DC. BADA was a terrific learning experience. Wonderful voice work, great classical text work – it was a terrific opportunity for me to further develop my already-strong love for Shakespeare. I will add that it also was a great life experience. I loved living in Oxford for the summer, and I left that program a better actor and more confident person.

When and why did you decide to move to Los Angeles?
I moved out to Los Angeles “by accident” at age 21. I went out to visit my sister for a month after graduation from UVa and somehow I stayed for several years. LA will do that to you; the weather, the beach, the mountains nearby…it’s a great place to live. I had always planned to move to NYC, but the few people I knew in LA really encouraged me to stay there (as we all know, “youth” can be a useful attribute in LA!), so I adjusted my plan and stayed. I learned a lot about what I liked and didn’t like about the business, and it made my priorities clearer to me.

They say you need an agent in L.A. What were your experiences with representation? Did you have an agent before you moved out there?
I signed with my commercial agent in LA (CLinc.) pretty much right away. One of my professors from college referred me to the agency. I worked with CLinc. the entire time I lived in LA, and we had a wonderful working relationship. I worked with a couple of different theatrical (film and TV) agents and, at one time, a manager. I don’t think I ever found the right relationship in that realm.

Can you describe auditioning and working in Los Angeles? Were you surprised by any aspects of the work itself?
The most surprising thing to me about auditioning in LA was that you could walk into a room and see 35 people who looked just like you. Literally. The “type” thing becomes very apparent right away.

I also was surprised by how many actors treated theatre as irrelevant.

How did you first get involved in voiceover work?
Leanna Levy, the owner of CLinc. (and head of the VO department) helped me to get started. I had been booking on-camera commercials with regularity and people had always been interested in my voice – it is low and textured and has depth. Also, as a trained actor I was naturally good at handling commercial copy. Leanna recommended me for the “Working Pros” class at Kalmenson and Kalmenson in Burbank, which is a top VO casting company and training facility. That class was incredibly useful because it gave me experience and confidence in the recording booth and the opportunity to work on a lot of different types of copy with great direction from the casting directors and engineers at Kalmenson.

You’ve been able to do a lot of work in “industrial film”. What types of projects fit into this category? Is that part of the industry particularly strong in DC? What do actors have to know in order to get work in industrial film?
Industrial films are corporate or government training or educational films. Sometimes they are used in sales or demos to the public but frequently they just are used within the sponsoring organization for training or public relations purposes. Depending on the project, you may be hired to host or narrate the film or you may be hired to portray a character in a given scenario. There is a great deal of work in industrial film in DC – the government being a key employer. These projects offer a terrific opportunity for actors and can be interesting because you learn about different segments of business or government agencies.

Often to get work in industrial films an actor has to be comfortable with difficult jargon – it may be technical, corporate, medical or government agency “speak”, but you have to sound like you know what you’re talking about, so being smart and a quick-study helps.

Proficiency with a teleprompter is also very useful. It’s a necessity if you hope to do on-camera narration or spokesperson jobs. One other thing I would add is that generally for industrial films they are looking for actors with a “professional” (i.e. corporate) look, so having good corporate wardrobe options is helpful too.

Why did you decide to move back to the DC area? How would you characterize the transition?
My husband and I decided together that it was the right time to make the move to the DC area. My mother was very ill and we wanted to be nearer to her. My husband had left his job with an Internet company and was looking to make a career change and I was happy to go somewhere where I could do more theatre. We did some research and realized that DC was a good fit for both of us personally and professionally. The decision definitely proved to be the right one in so many ways.

Career-wise, I’ve been working consistently and really enjoyed the work. We have a great support system here (with family and friends in the area), and I have met some really wonderful people - the DC acting community truly is filled with amazing individuals.

I’ve also begun to expand my career focus to NYC (always looking for new opportunities!).

Next up is fall in Richmond, VA, where I will be playing Constance in THE CONSTANT WIFE at Barksdale Theatre. (www.barksdalerichmond.org)

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