Much To-Do

Richard Iglewski's sense of play and artistry extend from Shakespearean drama to Eastern music

Iglewski also began to develop interest in acting during those teenage years. At the Notre Dame High School for Boys, nearly every student auditioned for a part in the annual musical -- jocks, singers, geeks, everybody. "It was a way to be involved in something that wasn't judgmental, like sports oftentimes is," Iglewski says. "This was about a range of talents being the mark of acceptance as opposed to how far you could throw a ball."

Landing the part of the father in Bye Bye Birdie not only gave the boy a boost of confidence, it also taught him something more about theater: "The message became clear," Iglewski says, "that this was not only a way of transforming and making people laugh, but it was a way of escaping into another world."

After graduating high school, Iglewski enrolled at nearby DePaul University with the intention of going into theater. His mother, he says, probably had the loopy notion that he wanted to be in movies or television. Instead, Iglewski was enthralled by the stage: He continued his theater studies at the University of California - San Diego, a period he describes as three solid years of craft training.

The student's devotion to his art paid off: One of his teachers helped him land a job with John Houseman's The Acting Company straight out of school -- and until recently, Iglewski has never been without immediate work. He moved to New York City, but traveled the country with the touring company, living out of a suitcase and sleeping in hotels. Working long-term and so closely with a small cast of actors was an intensely rewarding experience, Iglewski says. "The work only becomes deeper and richer because of the people you're working with," Iglewski says.

So in 1985, when Guthrie artistic director Liviu Ciulei offered Iglewski a spot in the Midwestern company, the actor leapt at the chance. Iglewski, along with a handful of other Twin Cities actors, became a staple of the Guthrie stage under Ciulei's replacement, Garland Wright. And it remains an enchanting place for a Polish kid from Chicago: "I'm working at the flagship of regional theater in the U.S., with people who deserve to be there because of their experience and talent," Iglewski says. "That can't help but get your ya-ya's going."

Guthrie audiences are well aware that Iglewski, called "Julio" by his friends, knows how to get those ya-ya's going. Guthrie veteran Charlie Janasz says his friend and fellow actor has a "fearless" sense of humor. "He's got an outrageous imagination," Janasz says, "He'll take things to the 'nth' degree."

Isabell Monk, who has been a member of the Guthrie company since 1989, says, "Julio always comes to the table with an idea. I think he keeps the characters alive because he never stops working on them."

When it comes to such creative collaboration at the Guthrie, Iglewski has high praise for the theater's newest artistic director Joe Dowling. "In the rehearsal process Joe shows great care for serving the best interests of what he calls the three A's -- the author, the actors, and the audience," Iglewski says. "Not every director will concern himself with that kind of camaraderie."

But Dowling also has revamped the notion of a permanent Guthrie company. In addition to utilizing the talents of the core group of Twin Cities actors who worked under Wright, the new director has wooed actors from New York and Los Angeles to participate in Guthrie productions. Last fall, for the first time in years, Iglewski found himself with six weeks of down time during the regular Guthrie season. For an actor who'd done full-time seasons back to back for a dozen years, it came as a bit of a relief: Iglewski played with his dog, Libby, and varnished his house. "The opportunity of having a life beyond a full season is enormously attractive," he says.

Iglewski shares his Minnetonka home with his partner of two years, Timothy Lee, artistic director of the Outward Spiral Theater Company. Although the two often talk shop ("Sitting across the breakfast table from Nick Bottom is mostly a blessing," Lee quips), they also spend considerable time kidding around. While celebrating their anniversary at Disneyworld last year, the pair rented a videocam and filmed their own James Bond spoof amid the thrill rides.

This spring, Dowling invited Iglewski to return for a full year at the Guthrie, where he'll start the season with roles in Oscar Wilde's The Importance of Being Earnest and Ivan Turgenev's A Month in the Country. But the actor says he's also intrigued by the idea of working elsewhere -- a possibility that a less-than-full-time Guthrie schedule might afford him someday. Still, he admits, "There aren't many places I'm keen on going away to and leaving my home. I think of the Guthrie as my artistic home."

Of late, Iglewski has also been toying with expanding theater into more avant-garde realms. He's always been interested in directing, he says, but previous attempts met with mixed results. "There is a string within me," he says with a Shakespearean touch, "that is yet untuned."

« Previous Page