Noe Tallen
"Noe Tallen is a fearless actor who tackles everything I serve up with gusto. She'd probably eat broken glass if I asked her to (but I won't, because that would be unprofessional, which is the opposite of Noe). At the same time, she has a thoughtful and delicate control of her instrument; it's a pleasure to work with her." - Carin Bratlie, director of The Life of Galileo
How long have you been working in the Twin Cities?
I came to the Twin Cities in 1997 to pursue a Master's Degree at the U of M. When I graduated in 2000 I did a few shows here and there and then stopped for a few years. I focused on my "day job" which unfortunately, due to the economy, I lost last year. Looking back at it I think I actually had some fear in auditioning for the big bad world. I found I had times where I simply couldn't force myself to get out to auditions. My fear of failure was huge. In 2003, I auditioned for a show with Theatre Unbound and found my courage. I have been working fairly regularly since then.
What would we have just seen you in?
Frankenstein: The Passions of Mary Shelley for Theatre Unbound - Metamorphoses for Theatre Pro Rata, Titus for Swearing Jack, Tales of Horror from the Bible for Bridge Productions.
Tell us a bit about your current show and the role you play.
Oy, How do you talk about Galileo? I am starring as Galileo in Theatre Pro Rata's production of The Life of Galileo. On the surface, this is show about Galileo's scientific discoveries and his conflicts with the Roman Church. But Brecht rewrote the play 3 times in the 40s, 50s and 60s to create a play that was a strong social commentary on the current plight of the people.
What drew you to this current production?
Carin Bratlie and Theatre Pro Rata. I love working with Carin. She knows exactly what actors need from her and she provides direction in a free and comfortable environment. She has the ability to get everyone to see her vision. She is clear and concise. I know when I do a show with her she will push me to be the absolute best I can be. I am grateful for her trust.
So, why Galileo as a woman?
Since Brecht wrote this play as a social commentary he required each production to stir the audience into action. There is to be no doubt for the audience that they are watching a play and that they should fight for their rights. By casting a woman as Galileo, Carin felt it would help the audience see the social implications immediately, I would be a continuous reminder through the show. It also allows the character of Galileo to be a real person rather than simply a statement. By being a woman my work in stirring the audience is already half done. It is a risky choice but I feel that it is a superb one for Carin's concept of the show.
And this is your second male title role in a year (after Titus).
I honestly did not expect this role. I naively went to auditions thinking Carin was looking for a standard cast with a male lead. I suspected that she might cast some women as men, but only in the supporting roles. The play after all only has 2 women in it. I remember reading the play prior to auditions and thinking, wow, wouldn't it be cool if I could play Galileo, yet I only prepared for the other characters. During callbacks it became clear that I was being considered for the role. I was shocked, exhilarated and terrified.
This has been an incredible year for me. I learned to build a pool onstage, I played a Shakespearean male lead, I became an impromptu costume designer and vocal teacher for a new church play I was in and now I am playing the biggest role I have ever had. I have played many male characters before, especially in Shakespeare. With my strong background in Shakespearean text and the way I look, I have always been appealing to directors as a male character actor. As a member of a theatre company that focuses on giving women opportunities in theatre (Theatre Unbound) I am always on the look-out for productions that allow women to shine in non-traditional roles. I hope by doing these roles myself that I am able to spur other directors into thinking outside the "traditional" box. It makes me sad sometimes to think that most of the really juicy lead roles I have had have been male characters. There are simply not enough strong traditional roles for women.
What has been your favorite part of this rehearsal process?
Geez. There have been so many. The cast for this show has already grown so close. All of them are passionate about this show and it's success. We love playing together and often have to be reigned in. This is a tough script, it is complex and consuming so, naturally, we get a little squirrely during rehearsals. Carin and the AD Natalie decided we needed a "safety word" to get us all back in line when the silliness gets out of hand. For some reason the word we picked is "Bubbles". It is weird to see an entire cast suddenly calm down when your director calls out "Bubbles!"
Do you have any sort of pre-show routine?
I am always early. I love the time I get to spend with the Stage Manager. I like checking in with the space and warming up. I look forward to each night and the possibility of finding something new.
What’s the weirdest / funniest / most awful thing that’s ever happened to you onstage?
The most awful would be my falling wall story, which is far to long to tell. Ask me about it sometime. I came about 4 inches from either being paralyzed or dying onstage. You gotta love the theatre.
The funniest... I was playing Mrs. Prism in the Importance of Being Earnest at the U of MN. It was the thesis project for the MFA class two years ahead of me and my first production in the Twin Cities. I discovered early on that this class of '98 were all practical jokers. I should have known I would get burned at some point. According to the play, my character is the one who lost Algernon as a baby while he was happily sleeping away in my hand basket. During the show, the adult Algernon gives me the hand basket at the end of the play to verify that it was mine. This will prove that he is actually Ernest. It is a huge moment, identities are discovered and everyone lives happily ever after. Well, on the closing night performance, Tim (The fellow playing Algernon) hands me the hand basket. I open it to inspect it and I discover.... a cabbage patch doll complete with cute little binky staring up at me from the inside! It startled me! I immediately shut the bag and looked around to see if the audience had noticed. I then looked down the Vom and saw the entire class of '98 waving and laughing...They got me good.
What is it that excites you about Twin Cities theater?
I always tell people that I came to the Twin Cities for school and I stayed because of my husband and the rich theatrical community here. I love the opportunities I have been given here. I love that I get to be a in a company filled with amazing, smart women who remind me every day why I do theatre. This is a rich community filled with artists who love what they do. We have so many small theatres that fight daily just to keep afloat yet produce incredible work consistently. Where else would a gal like me get to play Galileo, Titus and a church lady named Hertha all in the same year.
What’s up next for you after this show?
It has been over 8 years since I have done a theatrical production with my husband Ben. A few months back he decided he would work with a couple of guys to write a Shakespearen-ized version of Pulp Fiction for the Minnesota Fringe Festival. I am helping to produce this production and hopefully will be performing in it as well. It is going to be awesome!
Noe Tallen a core member of Theatre Unbound. She is appearing as the title role in Bertolt Brecht’s The Life of Galileo. The show is produced by Theatre Pro Rata and is performing April 4-19 at the Gremlin Theater.
For tickets go to Theatre Pro Rata or call 612-874-9321.
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