Mikaela Kafka - Mikaela has recently finished filming "Inside Man" directed by Spike Lee where she is being taken hostage by Clive Owen and eventually, hopefully saved by Denzel Washington. Find out upon its release on March 24th of 2006. This Fall she will be playing Jane in Hudson Exploited Theatre Company's production of "Jane Ho" by John Pallotta at the Lion Theatre on Theatre Row running Nov. 4 - Nov. 20. She just recently played the role of Maggot in Naomi Wallace's "Slaughter City" with the Garage Theatre Group. New York credits include, "Moe Green..." at the Helen Hayes Theatre on Broadway, "Beware the Man Eating Chicken" and "An Old Fashioned Love Story" by Tom Sleigh at the 2004 New York International Fringe Festival, "Mongolia Is Ours" and "Meet Me" at the Mint Theatre; "The Locket", "Jews and Jesus" and the National tour of "Oliver Twist." She originated the role of Joan Collins in "Dressing Room Divas" which ran in NY, Chicago, and L.A. Regional credits include Angie in "Breaking Legs" "I Hate Hamlet", "Arms and the Man", and "Top Girls" which earned her "Actress of the Year" in In Pittsburgh's Year in Review. As a director, she recently directed "Goose Vows," for NJDramatists, "Ampersand" a new play by Mark Bazzone and "Spitting Daisies," a finalist in the 2003 Samuel French Festival. She is also co-creator and producer with her husband Osborn Focht of "A Day at Dante's" a new cartoon that can be viewed at www.billZbob.com.

 

You are preparing to open Jane Ho at the Lion Theatre, off-Broadway. First of all, can you tell me about the show? What’s the subject and story of the play?
"Jane Ho is a psychologically penetrating play about the world of Prostitution. Sexy, disturbing, and emotionally gripping, it explores the innerworkings of a high priced call girl." The story is told through the thoughts of Jane as well as three other ho's. the male ho, the ethnic prostitute, the Southern belle.. These all represent different aspects of Janes personality as well as aspects of the "business." She fragments herself into these various characters of the play, showing us just how emotionally complex she is. What makes the drama so effective is the writing of John Pallotta, the series of fluid, overlapping stream-of-conscious monologues, and the poly vocal verbal stategies giving us the impression of a dreamlike fantasy world, only to turn us upside down and inside out.

Though the story is told through prostitution, I think it is ultimately about the paths we all choose in life. What it is we all really want and desire. And what we will do in order to get what we want.

While it may seem like new shows appear out of nowhere, POOF, ready for their off-Broadway premiere, Jane Ho has been through a lengthy development process. Can you describe how the show began, and the work that has been done over the past few years to get it to this point?
Back in 2003, I received a call from a producer that I had worked for years ago. He said He knew of a great playwright that needed strong female actors. I submitted my headshot and resume, got an appointment, and auditioned for John Pollatta (playwright) and Arian Blanco (artistic director of Hudson Exploited Theatre Company; or HexTc). They cast me as Jane Ho 1 for a reading of "Jane..." to be done as a part of the HexTc's summer reading series. We became fast friends and confidantes and shared in the belief that this piece had a "future." We went on to do a reading at the Dramatists Guild in NYC. We received great feedback but it was a unanimous decision that this play needed to be staged. So...HexTc went on to produce "Jane..." as a part of their regular season at the 32nd Street Playhouse in Union City, NJ with Arian Blanco directing, sort of as an out-of-town tryout. The concept and staging of this production worked so well that it further inspired us. Throughout this time, we have continually been workshopping, pruning, and reformatting. Every piece of feedback and criticism was noted and discussed between the three of us. We did not discount anything. It has truly been a collaborative effort and there is nothing more staisfying.

Considering the amount of time that has passed since you began working on this project, what has kept you (and the production team: please include their names) motivated to keep working on it?
AUDIENCE RESPONSE! We have been blown over at every juncture of this process. The audience always responds so strongly. The Q and A's go on forever. People love to discuss this play. It really makes people think. They seem to relate so much to Jane which making them think about the paths they have taken, and question their own lives. I just always sit back and relish the fact that we have moved and motivated peoples minds.

A proud moment with the check from the Ford Foundation

In New York, competition is fierce for funding. What was your approach to funding? In your opinion, why was the Ford Foundation attracted to this project? Have you secured any other sources of funding?
We (John Pallotta, Arian Blanco, and myself) are all real go-getters. For one, I had a couple of weeks off in which I literally went to Sardi's everyday and sat at the bar ready with Jane Ho Press Packets. From this I have met many influential people who have "Jane " on their radar with possibilities of further involvement. Then we have our playwright, John, who works on Amtrak Trains where if anyone asks for reading material, he offers them a copy of (you guessed it) "Jane Ho." Thats how we met Jim Pluskota. He read it and fell in love. When he came back into town he offered to donate monies to HexTc for "Jane HO" and see about a matching gift grant from his company, The Ford Foundation. We were beside ourselves This afforded us the top-notch showcase production that will put Jane out there.

What are your goals for this production, and how do you plan to achieve them? Have the goals for this production changed since it first began?
Our ultimate goal is to have this as an extended off-broadway run. We already have the interest of about 4 independent producers, couple of "money people", and also, established off-broadway theatre companies. That is who we are looking to mainly fill the seats. And of course reviewers. We have felt from the beginning that "Jane.." had the chops to go this far and we haven't hit any roadblocks so far...so onward and upward. You must believe.

For you, what have been the greatest challenges of this production?
This is the most challenging role I have ever taken on. I felt a connection right away. Jane is like the biggest "bermudia onion." The layers in this particular character never cease to pop up. I am constantly working on her and having new ideas. I've never had so much fun.

As if Jane Ho weren’t enough, you also recently finished filming the new Spike Lee film, Inside Man starring Denzel Washington and Clive Owen. Can you describe the casting process and how you got the job?
This summer I was looking to do some regional work. I was very excited for this and was simply waiting for the contract... until I found out... the theater had decided not to do the show and cancelled it. Of course, I thought, "Oh my god, I'll never work again..." and literally at the same time, my manager called and said, "Hey you want to do a Spike Lee Film?" Just goes to show... you never know! Immediately following, Spikes "people" called my "people" ( I love that I can now actually say that) and I was to go to a private screening with Spike and a party following to meet everyone involved. It was great!

 

Spike Lee is considered one of the great American filmmakers… what did you learn working with him?
I can not even begin to tell you how much I learned. First of all, like with that initial party, everyone from Spike to the Asst director, from the boom operater to the smallest extra, felt as though they were a part of this "great thing." The world of the set was a wonderful, comfortable place to go everyday and do your work. Spike is at the helm, hands on, creating with you, motivating you, which only makes you want to be the best you can possibly be.

Not to mention his use of the camera. Most every shot had at least 5 different camera angles at one time. I learned how to be aware of each angle, know exactly why and where they were, and then forget it and do my work. I have never felt so confidant about my film work and I thanked Spike for this at the "wrap" party (which of course was "kickin'")

In addition to your film and off-Broadway work, you’ve also participated in New York’s famous (or infamous) “Fringe Festival”. In your opinion, why is it important for actors to be a part of this event?
I believe everyone should at one time in their career work on the Fringe. I have participated in some way shape or form for five years. Last year, I performed in two shows, "Beware the Man Eating Chicken" by Henry Meyerson and "An old-fashioned Love Story" by Tom Sleigh. What a summer. But if you can do the fringe, you can do anything. It really calls on you to excel in not only performing but working as a true team player and collaborative artist.

Your husband is an actor as well. What are the unique challenges faced by two actors in a marriage, and how do you overcome them?
My husband...hmm...Osborn Focht is currently playing Tartuffe in Centenary Stage Co.'s production of Tartuffe running thru Oct. 23rd. (1st bit of advice...always plug each others shows). Seriously, I can't imagine not being married to an actor. We both understand the stress of auditions, the rehearsal process ups and downs, and the need to have our egos stroked. You must be honest with yourselves. Every actor from time to time needs to feel "special." We are constantly aware of this and do whatever we can to help each other through.

An actors’ career will inevitably have ups and downs. When you're working a lot, what have you done to prepare for potential “lean years”?
Make your dinner and take it with you to rehearsal, eat well from the Kraft service table when on the set, and don't take cabs, walk, its healthier anyway. Seriously, when I am working in a show, I really buckle down. Its not only good for the show but you can't help but to save money. Then take that money you saved and invest it. The fact is you never know whats next, so never act like "Diamond Jim" unless you go to an opening, or an awards banquet or something. Then...dress to the nines and act like you do this everyday.

What are your overall career goals, and what do you consistently do to achieve them?
TO WORK. WORK, WORK, WORK. And to be respected in my field. Thats all I want. To receive new scripts and be asked to work on them, dramaturging, acting, directing. And all I can do is continue to be there, auditioning, producing good work, and get a reputation as someone you want to work with.

You received a BA in theater from Point Park College. Do you feel your education prepared you for show business? Why or why not?
I loved my training from PPC. Not a lot of time was spent on how to go about getting jobs (i.e. knocking on doors, getting an agent), they concentrated on teaching us how to work once we were there. PPC has three different theatres constantly in performance (the professional company main stage, the college company black box theatre, and the Playhouse Jr.) Along with our full schedule, we had to audition for each and every show. If we did not get cast, we would work in some technical aspect. I learned "THEATRE." I've run a spot, I've made a flat, I've assisstant directed, stage managed, and of course acted in various genres (musicals, classics, childrens theatre, avant garde, new works, everything.)

What do you love about acting? What keeps you going when things are tough?
I don't know why...but I am never so happy as when I am working. I just love it. I feed off creative juices. I feel alive! So much so, that when I don't have anything going on, I make something go on. When I first came to New York, I got a job right away (Dressing Room Divas) and when that stopped I wasn't working so I started doing stand-up comedy and formed an Improv Group. Last year I wanted to work in the Fringe, so I put out feelers for playwrights to submit works that I could perform in. And about two years ago, both my husband and I had a sparce year of work...so we began creating a cartoon for the internet as a showcase for an idea for an animated telivision series. Check it out! www.BillZBob.com

Things are never "tough" as long as you keep doing what you love. "Keep Going," thats my motto...And, of course...Come see Jane Ho.

What did you think of this interview? Let us know.
feedback@actorslife.com