Acting drunk

It’s not as easy as you might think

By Katherine Joyce

In case you were wondering, drinking is a major part of American culture. However, we are certainly not the world’s most notorious alcohol consumers. As Saint Patrick’s Day approaches, it seems only just to honor the legendary alcohol consumption of the Irish with an inquiry into the use of alcoholic beverages on stage. There are two angles to drinking on stage: the logistical matter of the drinking, and the challenge of acting drunk.

First, the logistics. Something worth knowing is that the Actors’ Equity Association prohibits the use of alcohol on stage. (I am, however, unaware of any regulation prohibiting the use of alcohol backstage. In fact, Tad Allyn Doyle from Seacoast Repertory Theatre reports that, over the course of his career, he has seen some performers take a neat drink before heading out in front of the audience. He claims that such behavior is usually seen in big stars or insecure, irresponsible actors.) So, when actors are to be drinking alcohol in front of the curtain, the director and crew must orchestrate the scene to appear authentic without the actual consumption of alcohol. Sounds easy enough at first glance. And sometimes it is. There are, however, some potential complications.

After talking with both Anita Stewart from Portland Stage Company, and Doyle from Seacoast Repertory Theatre, it is clear that bottles of alcohol which are already open are the easiest with which to deal. Wine is water with food coloring (Stewart noted that actors tend to prefer water over juice because the juice can increase the production of mucous in their throats, making it more difficult to speak). Champagne is sparkling cider or ginger ale. Beer is non-alcoholic beer, or sparkling cider shaken to help it form a head when poured.

It is, however, a whole different story to orchestrate the use of bottles and cans that are to be opened while on stage. Wine bottles must be emptied, washed, refilled, and recorked. Champagne bottles must be filled with something carbonated enough to create the appropriate “pop” when opened. Doyle suggests sparkling cider, shaken (not stirred). Stewart suggests ginger ale with some additional sodium bicarbonate.

Beer cans sound like the hardest thing to pull off opening on stage. Doyle suggests that it is possible to cut the top and bottom off of a beer can, and wrap the rest around a soda can, securing it with gaff tape. Although that certainly could work, Stewart shares the Portland Stage Company method of the beer can switcheroo. First, two small holes are punched in the lid of the can. Then the liquid is slowly drained out, the can is rinsed by pouring water into the tiny little holes, and a new liquid is placed in the beer can. This way, the actor can break the seal on the can as if it had never been tampered with. The unfortunate props manager of a recent show at Portland Stage Company was required to do this with a six pack of beer for every performance.

As for the acting, surely you have been in situations where you have needed to act as though you were not drunk. You have had parents, professors, bosses, and peers to fool. But how many of us have even had to convincingly act drunk? Actors are often required to do just that. And it isn’t as easy as you might think. Some of you may have a helpful suggestion on the tips of your tongues: If it’s not easy to act drunk, why don’t they actually get drunk? Unfortunately, as difficult as it is to act drunk, it is more difficult to remember lines and blocking (and avoid the wrath of fellow cast mates) when you actually are drunk.

According to both Stewart and Doyle, the key to acting inebriated on stage is to try especially hard to not act drunk. This is true for several reasons. One reason is that most people who are boozed are trying to act sober. This tactic usually manifests itself in over-enunciation, actions that are too carefully studied, and, of course, the near miss (go to put something down and miss the table). Sound familiar? Another reason is that the actor must be engaged in the scene, and can do so more easily if the character is trying to interact in spite of the haze of inebriation. Imitating these physical symptoms can only get one so far. There are sad drunks, happy drunks, angry drunks. The choice of the emotional effect of the alcohol on a character usually stems from the script and the director.

The use of alcohol in scripts varies widely, as well. Some playwrights use alcoholism or intoxication as a vehicle for the development of relationships or characters. Some use alcohol for the decline and destruction of characters. Stewart was struck by the use of alcohol in Pinter’s Betrayal, seen earlier this season at Portland Stage Company. She commented that there was alcohol in almost every scene, including one scene where a pregnant woman ordered vodka. She noted that this scene may not have been shocking when written, and attributed this to the way attitudes about alcohol have changed over the years.

Attitudes about drinking have not changed as drastically as those about smoking, however. Stewart commented that audiences have been known to complain about a variety of things in a show, including offensive cigarette smoke, but she has yet to hear a complaint about the drinking.

Katherine Joyce can be reached at ingliskat@aol.com.