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While many performers foolishly focus on transforming text into an ostentatious display of their talent, Ed Swidey feels his ilk can forge formidable advances by “acting on the line” and refusing to “argue with the play.” Through Sunday, the South of South denizen will promote piety to the page as Willy Loman in EgoPo Classic Theater’s “Death of a Salesman.”
“It is the principal male part in American theater,” the 41-year-old said of portraying the Pulitzer Prize- and Tony Award-winning masterpiece’s titular character. “There has to be authenticity when taking on the role because of that, and because of my intensity and the aura of the script, I’ve worked to be true to what’s in front of me.”
The thoughtful thespian is tackling the titanic endeavor under the direction of EgoPo’s artistic director and East Passyunk Crossing dweller Lane Savadove. The initial element of the company’s American Giants Festival, the staging coincides with the upcoming 100th birthday celebration for playwright Arthur Miller.
“I admire Lane for being so interested in setting a standard with EgoPo, and I’ve wanted to deliver for him and the overall work,” Swidey said. “It’s been so rewarding to grow into a role that can be quite scary to handle.”
Noting that companies have often called on older figures to play the 63-year-old downtrodden peddler, the actor acknowledged a bit of unease during his preparation but revealed that dissipated once the show enjoyed its Latvian Society of Philadelphia-situated debut last month. Aside from pondering the piece’s immense status as a reflection of decline and decay, he came to his task with a personal connection to its components.
“My father was a salesman, so there’s definitely an awareness of what Willy experienced,” Swidey said. “When you also take a look at the familial themes and the searches for meaning that Miller explores, in many ways, there’s an identification with this play that is beyond almost anything else that I can think of, aside from a few children-centered works.”
Such distinction could cause conundrums if one makes the assignment an opportunity to commandeer the stage, but Swidey stated “Death of a Salesman” has earned merit as a “really, really great play where everything is on the page.” Still needing to know how to channel the languishing Loman effectively, he has placed great stock not only in his theatrical training but in his accumulated wisdom as a communicator.
“I see acting on the line as being everything, especially for this job,” Swidey, eager to revisit the role years from now, said. “If you can mean what you say and mean it fully, you’re on a good path. Whenever we express ourselves, we’re looking to alter or affirm what people are thinking, and audiences are keen on that. You have to be honest because they’ll spot self-consciousness very easily.”
Acknowledging nervous moments no matter the familiarity with a script or the masterminds behind its production, Swidey still has come a long way from being “an intensely shy kid” hailing from Somerset, Mass. Originally believing he would address texts as an English teacher rather than give homage to them as an actor, he enrolled at Boston College, a location that would banish his bashfulness.
“I didn’t have much of a solid theater background, even with regards to reading it, but that wasn’t much of a hindrance,” the now-highly erudite individual said, noting he lacked a trace of apprehension on his inaugural audition.
Minus any momentous theatrical inclination, he found the field offered “an open world,” with a love affair with novelty developing by the time he landed his first role. Surprising himself and his family, especially his patriarch, with his affinity for being in front of an audience, Swidey desired more of that sense of accomplishment and engrossed himself in his undergraduate institution’s enhancement, benefiting from fantastic directors in doing so. Though graduate schools passed on admitting him, he loved their feedback and pursued professional prowess in New York City and Los Angeles.
“I was adding life experience, and that’s always beneficial,” Swidey said. “I knew I wanted to go to graduate school, too, though.”
Returning East, he enrolled at the University of Delaware in 2004, yearning for an even more engrossing curriculum, a craving that his instructors tirelessly sated. Hearing the sentiment that one requires 20 years to become a full-fledged actor, he loved the prospect of evolving as a performer and has found focusing on his quest in Philadelphia a wonderful endeavor.
“There’s an active effort to see merit here,” Swidey, who moved to South of South from Center City four years ago, said. “Philadelphia is a bit of an underdog city, so there’s a huge commitment to what goes on stage and a healthier brand of competition than what you’d find in New York or L.A.”
The actor has established his best relationships with EgoPo and the Wilma Theater, the latter endowing him with employment in its education program, a creative complement to the Massachusetts-based summer camp that he has overseen for four years. As Savadove gave him his first big part in ’09’s “Endgame,” Swidey especially relishes chances to support EgoPo, classifying it as “a pioneer” among likewise progressive companies.
“I’m thrilled to be doing this play for them because it’s such a big piece of the canon,” he said of the work that enjoyed its first staging in Philadelphia in 1949. “Plus, everyone involved is so committed, too.”
With an acting resumé that includes numerous dramatic turns, Swidey can count cherishing levity among his talents, too, as he penned “The mEEp pROjectT” for the Simpatico Theatre Project in 2012, describing his all-ages fantasy as “a helluva lot of fun to make.” He plans to continue to assist children with their writing in the spring when he will perform in the Wilma’s offerings of “Hamlet” and “Rosencrantz and Guildenstern Are Dead” and is enjoying domestic bliss with girlfriend and fellow theater professional Cindy Spitko and their cats, Alfie and Winky.
“I’m living a pretty fortunate life,” Swidey said. “Just like with my career, I’m appreciative for all the love and support.”
For tickets, call 267-273-1414, or visit egopo.orgegopo.org.
Contact Managing Editor Joseph Myers at jmyers@southphillyreview.com or ext. 124.
Portrait Photo By Corey Carter
Production photos Provided By David Cimetta
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