Figuring out Philip Himebaugh

First of all, tell us a little about yourself:
My name is Philip Himebaugh. I am 24 years old. I have been married to my incredible wife Emily for about a year and a half. I grew up in Mason, MI. graduated from Alma College with a BA in theatre in April 2007. I currently work as a bank teller and do theatre in my spare time.

Why did you specifically pick "The Book of Days" to submit to the Riverwalk?
I was first exposed to “Book of Days” in 2005 while completing my undergraduate work. I played the role of Len in a Spring term production that we put up in about three weeks. I love the script. I find it chilling, almost haunting and I quite honestly just love the play. I knew I wanted to take a crack at directing, so I submitted my favorite script.

What character do you enjoy the most? Why?
Having played the role of Len, I definitely have a soft spot in my heart for this character. I think Len loses as much as almost anyone else throughout the play, but by the end no one ever really seems to remember. He’s a good guy, he works hard and loves his family, which I love about him.

What were you looking for in the auditions?
Obviously, going into an audition situation there are certain things to watch for. I really wanted to make sure the cast I chose fit the vision in my head for what these people look like. Also, it is VERY important to me that actors know how to make bold, relevant choices that they can defend. Also, I need to know that an actor will be able to take any direction I may give and do his/her best to work with it even if they disagree.

You've been seen on stage, and have had many accolades for your work - what made you decide to direct?
Directing always has been appealing to me. I’m very glad to have gotten the opportunity to direct one of my favorite plays. I did some one-act play directing work in college and always felt as though I could tackle something larger. I am confident in the training I have received and have a very clear artistic vision for where I would like to see “Book of Days” go.

Who were artistic influences to you and how did they affect your perspective on the art of communication in theatre?
My major influences are Joe Jezewski and Sanford Meisner. Mr. Jezewski is a professor of theatre at Alma College. He influenced me directly perhaps more than any other person about myself and my abilities as an actor, director and theatre artist, Sanford Meisner, on the other hand, was part of the Group Theatre founded in 1931 with member s like Harold Clurman and Lee Strasberg. Meisner’s approach to the theatre speaks volumes to me. This also will probably help me answer the communication question. Meisner’s approach to acting is fairly simple, yet it also is steeped in complexity. His cardinal rule on stage is that “I don’t do anything unless something happens to make me do it.” His work is completely based on REALLY TALKING and REALLY LISTENING; concepts derived from Russian master Constantin Stanislavsky. Many people may be familiar with Strasberg’s “method acting” which is based off of these same principals. I find Meisner’s teaching to ring more true for me. Communication on stage is much more effective, truthful and powerful if an actor is living truthfully under a set of imaginary circumstances. Theatre is arguably the most potent form of communication there is. In my mind Meisner is the definitive master on acting, no one else even comes close.

What do you believe the purpose of theatre is, and do you believe it is still relevant to the community? How?
I wholeheartedly believe that the theatre is an absolute necessity. I remember seeing a PBS documentary featuring Ronald Harwood, the playwright responsible for “The Dresser”. He posits, and frankly I agree that the theatre is a societal need. That people will find a way to imitate and to act out the events they deem important and significant.

Favorite quote of any show?
The whole muffin exchange between Jack and Algernon in “The Importance of Being Earnest”. Absolutely the funniest thing in the English language.

Is there another show you would consider submitting to direct? (and if so, what?)
There are many, many, many plays that I would like to direct. However, for the time being, I have submitted a French Farce entitled “A Flea in Her Ear” for Riverwalk’s 2010-2011 season. I am hoping it is selected.

What was it like working with members of your family in the show? More or less difficult to direct?
Having family as auditioners can be tricky business. My auditions were exactly that. Auditions based on my perception of the roles available and each individual actor’s interpretation of that role and as it related to my own. Working with members of my own family for “Book of Days” was really not that much different than working with any of the other actors. They received notes, sometimes good, sometimes bad. They disagreed and questioned and fought – just like any other actor would. While I am rehearsing, I do my best to remove myself from outside relationships. In the theatre, I am the director, the actors are the actors. When I am home, I am Philip, my wife is my wife, my mother is my mother, etc.

Favorite line of THIS show?
Ruth’s line in Act II: “My God, the horror that’s been done in the name of the greater good!” I also touch on this in my director’s notes.

What have you learned while directing?
I’ve learned that I need to be patient with myself and trust my own vision. It’s easy to let ourselves be swayed by nay-sayers or well-meaning friends who know a “better way to do it”. I’ve learned that I really enjoy directing, and I’ve learned the importance of letting other people take control in areas where I do not excel, such as set dressing, construction, lights, etc. This is just the tip of the iceberg. “Book of Days” was definitely a learning experience.

If you had it to do all over again, is there anything you would do differently?
I hope this doesn’t come across as a cop out answer, but I would not do anything differently. The experience I’ve had directing this show has been what it has been for a reason. I have treasured the good, along with the bad.