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Following the 2011 production of “How to Disappear Completely and Never Be Found” by Luna Theater Co., 620 S. Eighth St., founder and artistic director Gregory Scott Campbell suggested that lead actor David Stanger seek an opportunity with The Idiopathic Ridiculopathy Consortium. Already contemplating a break from acting, the thespian thought the latter’s Theatre of the Absurd focus might not foster a match with his abilities, but he took his peer’s advice and has since aligned himself with Bella Vista-based co-founder Tina Brock and other daring professionals to present highly-renowned efforts. Through Feb. 22, the 35-year-old is exploring similar doubt and redemption as John Tarleton Jr. in George Bernard Shaw’s “Misalliance.”
“Since we staged ‘Marriage’ in 2012, I’ve found it amazing how much rapport we’ve developed,” Stanger said from his residence on the 1100 block of Daly Street. “They’re additional reminders that members of Philadelphia’s theater scene are all in this quest to make fantastic work together.”
The Lower Moyamensing inhabitant and the South Philly-heavy cast, including girlfriend Kristen Norine as Polish acrobat Lina Szczepanowska, are handling the Irish playwright’s investigation of strained relationships courtesy of Walnut Street Theatre’s Studio 5. As the IRC has garnered kudos for presenting clearly defined Theatre of the Absurd pieces such as last year’s FringeArts Festival entry “Rhinoceros,” with Stanger as Jean, one might muse that “Misalliance,” with action and plot almost subservient to dialogue, does not easily register as a typical choice for his chums, but Stanger disagrees, tabbing it the Shaw work most open to an absurdist approach.
“Language is undoubtedly important to this work,” he said of the century-old comedy. “Because of that, it offers characters searching for greater meaning to life and dealing with the struggles of that quest. Despite some views that absurdist material is overly dense, that is the intent of the genre.”
Regardless of the classification of the work, one need not struggle to tab Johnny, the son of an underwear magnate whose house serves as the setting for the done-in-a-day play, as a disciple of pragmatism and a honer of narrow views. In reviewing his IRC credits, Stanger considers the character, who becomes a suitor of Lina, another figure who beholds bending his will as a betrayal of his ideals, a characteristic that counters how the actor conducts his own life.
“It’s fun to take on such individuals to gain a sense of how much we can miss if we shun change,” he said. “Even as performers, actors, actresses, whatever, I think we do audiences a disservice if we’re not fully engaged in pushing ourselves and being vulnerable.”
Acceptance of those elements of his craft has helped Stanger to deem the absurdist canon a perfectly sane selection for those looking to grasp the core of humanity. Having abandoned his comfort zone for the discipline’s demanding environs, he loves that, unlike Johnny, he can welcome such occasions not as chances to tremble but as opportunities to revel.
“I enjoy every moment of what I’m doing,” Stanger said. “Looking at this city, I believe there’s great work to be had and even greater people to be around when making wonderful pieces of art.”
The indebted individual initiated his interest in acting as a Devon denizen, with middle and high school roles ramping up his curiosity. Not necessarily seeing the endeavor as his future vocation, he experienced his epiphany as a sophomore, halting his hesitation to test his talent more vigorously.
“I realized this is where my heart is,” Stanger said of his stage-situated affinity. “Despite doubts initially, I think there’s something to be said to sticking with something that makes us feel alive no matter what odds we face.”
Concentrating on classical acting as a registrant at Allentown’s Muhlenberg College, he commenced his comprehension of the complexity of his calling, but he did not shudder, as his peers helped him to value the vocation as a craft. Growing up not far from Philadelphia, he knew of its thriving theater community and relocated here to figure out how he could fit in with its focus on potent productions.
“I’m still working on determining exactly how to do that,” he said with a laugh, “but what I can say is there is such camaraderie among everyone, especially the performers based in South Philly, that it’s easy to be energized when taking on a new project.”
Certainly thankful for all of his parts, including turns for Bella Vista-based Luna and Flashpoint Theatre Co., he claims the IRC as his most highly regarded employer, lauding Brock, the company’s producing artistic director and the overseer of “Misalliance,” for bringing to life classics and new pieces. Well beyond his initial apprehension over attempting to mesh with the entity’s emphasis on staging “illuminating, challenging and humorous interpretations of absurdist-leaning plays,” per the “Misalliance” press release, he cherishes the troupe’s inclusivity and looks forward to listing more productions on his résumé.
“Everyone has a say in helping us to present the best work that we can,” he said. “There’s comfort in knowing your voice matters.”
Stanger has also spent roughly one year showing the strength of his timbre as a voice-over artist and narrator, dubbing his Havertown-based tutelage as offering a subtle medium for conveying ideas. Using the same principles behind his acting acumen to garner gigs, he anticipates delving more into that realm following the completion of “Misalliance.”
“I’m really excited about whatever might come along,” he said of linking his established passion for acting with his budding beckoning to voice-based undertakings. “If I can continue to expand, I’m going to call myself fulfilled at the end of the day.”
Stanger would like his evolution to breed enthusiasm for directing, deeming that potential pursuit a product of immersing himself in all elements of theater, thanks largely to the IRC.
“Many actors think they can give direction as well as they can take it,” he said. “I want to test that theory.”
For tickets, call 215-285-0472, or visit misalliance.bpt.me.
Contact Managing Editor Joseph Myers at jmyers@southphillyreview.com or ext. 124.
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