I remember, at a young age, feeling very conflicted that I didn’t know what I wanted to be when I grew up. All the other kids around me would constantly change their minds but at least had some idea of what to do. It wasn’t until I was 12 years old that I would finally discover a dream I would chase for the rest of my life.
I was cast as Cogsworth in our elementary school production of Beauty and the Beast and felt such a rush of adrenaline and excitement every time I entered and left that stage. I still have some very vague memories of that night and the happiness I felt when the crowd laughed at a way I delivered my line. Been chasing that adrenaline ever since.
indieactivity: How did you become an actor?
Meghan Lane (ML): Moving from New Jersey to New York for high school was a big change for me. I spent the first few years just trying to adjust, leaving my passion for theatre to the side, and exploring other interests like photography. Than, junior and senior year, I decided it was time to pick up acting again and auditioned for the musical productions.
Being in those plays, getting cast in wonderful roles and creating bonds with the drama club was definitely what influenced me to major in Performing Arts at my local community college. For 3 years, I studied acting and bonded with some of the most important people in my life but still didn’t really know where I wanted to go once I graduated.
So I took a year off after community college to find out what exactly needed to come next. It wasn’t until my best friend was going to audition for the Stella Adler Studio of Acting did I realize that I needed conservatory training. The program I chose was the evening conservatory, 5 days a week for 2 years and I’m so proud to call myself an alumni from there. It instilled discipline, focus and drive in me and I came out a more professional, determined actress.
What acting technique do you use?
Meghan Lane (ML): Adler technique is what I learned in school which is a form of method acting inspired by Stanislavski. I definitely use a majority of this technique to explore the given circumstances in the material and use my imagination for extensive background work on who the character really is. But lately, I’ve been reading many more books and exploring all aspects of different acting methods.
I don’t think there’s one specific, correct way to learn acting. It’s what works best for you and I think learning what every technique can offer only benefits the actor. I try to grab bits and pieces from every book I read or class I take so I can identify what helps me improve my craft and leave behind other methods that don’t.
What wrong impressions do actors have about acting?
Meghan Lane (ML): I dated a guy for a brief period in time and I remember him saying, “ Well, acting is so easy. You just think of something sad and you cry.” Yeah, no. People have this idea that actors have such a simple job and that they don’t really need to put much effort in to do what they need to. If there’s anything I want people to know, it’s that acting isn’t just memorizing lines and showing up.
I can only speak for myself, but depending on when I’m given certain material or however long I’m rehearsing for, I’m constantly researching, studying and developing a character. My work doesn’t end when I get home and I’m always giving myself deadlines for where I need to be.
Do you take courses to improve your craft?
Meghan Lane (ML): I believe there is always room to learn and grow as an artist. Whether it’s acting, painting, dancing, and so on, you always have to improve your instrument. I take classes when I can, sometimes with past teachers or other times at One on One in NYC.
However, it can get expensive constantly taking workshops so when I’m not indulging that aspect, I read as many books/plays as I can, meet up with friends to explore new scenes, binge my favorite podcast or even record a new monologue to post on my website. You don’t have to be in a classroom to be improving your skill and you definitely don’t have to be cast in someone else’s project to get experience.
I recently produced, wrote and starred in a short film and am currently done writing a second. My close friends and I work together on every project we create and give each other the experience we need to improve. So, I also highly recommend collaborating with people you trust, developing your own material and learning what exactly it entails to make a film or put on a play. There’s no better learning than going out there and doing.
What acting books do you use?
Meghan Lane (ML): Currently, I’m in the middle of some exercises in How to Stop Acting by Harold Guskin and just finished The Actor’s Life: A Survival Guide by Jenna Fischer. I cannot recommend these two books enough. Jenna Fischer’s book is brutally honest about this dream we’re all chasing and is a brilliant tool if you want to learn exactly what the process is like in this industry.
Guskin’s book is teaching me ways to stop judging myself, the actor, and start trusting my instincts which is something I’m always trying to improve. A few other books I’ve read are “Steal Like an Artist” by Justin Kleon, Acting in Film by Michael Caine, The Lucid Body by Fay Simpson and The War of Art by Steven Pressfield.
How do you keep fit as an actor?
Meghan Lane (ML): Up until a few years ago, I never fully embraced how important exercise and nutrition were for my body and mind. Now, I make sure to work out at least 4 days a week but not for any crazy, physical result. I am just more energized and concentrated on my work when I’ve taken care of my body and fueled it properly with exercise and healthy foods.
Horror Short Abner Strange
Of course, I have cheat days and indulge in a rest day because it’s all about balance. I also try to do yoga at least twice a week so I can stay in tune with my body and release any tension that’s been distracting me from my goals.
How do you prepare for a role when you get it?
Meghan Lane (ML): When I land a role, I spend the first few days reading over the script many times. Yes, there’s a lot of benefit from background work and finding the character but I think the text is the most important thing in the end. If it’s well written, it’ll all be there for you to discover and put together.
I write down what other characters say about me and what I say about myself in those first few days as well. From there, I disect the script a bit more while building on the character and who I think they are. After a while, I find myself thinking about a certain scene or a certain line outside of my studies and focus on all different ways I believe it could go.
Thinking about the character constantly seems to help me focus and discover new things. I’m still learning what works for me though, so I’m challenging myself with any new material I get by taking different approaches each time. It keeps everything fresh and new for me when it’s not the same process every time.
How do you create a character from a script into a person?
Meghan Lane (ML): All the internal work of a character is important, like I mentioned in the previous question with background work and script analysis. But what’s also important to me is bringing the character to life off the page through their physicalities and taking note of their presence in a room. At Stella Adler we had a lot of movement classes along with voice & speech and lucid body.
Acting Reel 2021
These classes connected me with my body and the importance of finding how the character walks in a room, speaks to others and where exactly they are blocked or free in expression. Both process combined help me settle into the character.
How do you stay fresh on a production set?
ML: I’m still learning how to stay fresh on sets! Coming from an extensive training in theatre, both worlds are very different in the approach to acting. In theatre, I’ve learned to bring a character to life and stay with her for the 2 hour lifespan she’s given on stage. Film, however, is a new medium for me in the past year, so I’m letting myself learn what I need to do to stay in character before a director says action and after they say cut.
One thing I’ve take note of so far is that I need to have fun on a set and not bombard myself with pressure in between takes or resets. That’s what keeps me fresh and excited, then all I’ll need is a beat or moment before we’re about to role and I can settle back into the character with ease.
Explain one choice you took on set?
ML: The only one I can think of right now is the short film I just returned from in Pennsylvania, Abner Strange. There’s a moment when my character Joan’s husband leans in to kiss her forehead during extremely intense moment of their marriage. I kept my reaction towards it a bit more subtle and internal but after a few takes I reminded myself to keep exploring so when he leaned in to grab my chin and kiss my forehead, I pulled away from him in fear that he was going to hurt me again.
Comedic short Morning Joe Clip
The DP, Becca, told me after that she thought that choice was so interesting and complimented me on my work. It felt great to take a chance and present my take on the character/script and be applauded for it.
Describe a memorable character you played?
ML: My favorite character I’ve played so far was Betty in a theatre production of Vinegar Tom by Carly Churchill. It was the final play I was in for Stella Adler (June 2017) so it not only had a lot of sentimental value to me, but was also a big moment for me in terms of letting go and leaving my heart on the stage.
The character is written to be 16 and as a 24 year old woman at the time I knew it would be exciting and challenging to find that oblivious, innocence again. Her story broke my heart and I wanted to make sure I did her justice with all she had to endure. I also discovered my emotional capacity throughout rehearsal and how fully I could lose myself in a production. I miss every character I study, find and play but definitely miss Betty the most.
She’s a completely different person from beginning to end so going through those motions and growth every night was demanding but rewarding.
What do you want most from a director?
ML: Communication. I want a director to be honest and upfront with me if I did something that wasn’t right for the character or scene. If I can hear their opinion on how they interpreted it and have a discussion, I will thrive in that environment because it will be a collaboration to make something great.
Improvised scene from the feature film Beware the Horn (2020)
What actors do want to work with?
ML: Jessica Chastain
Why her?
ML: I’ve followed her career since 2011, when she hit the scene with 7 movies in theaters all at once. The first two I saw were Tree of Life and Take Shelter and before that I never really had a huge inspiration or idol in the industry, just people I admired as great actors. Jessica Chastain though was something else entirely. She fills the screen with so much emotion and brings something different to every single character she plays.
I’m constantly in awe of how she does it. I learn something new from her every time I re-watch her films or rush to the theater to see the new ones. She tells stories that are important but also has fun and dives outside her comfort zone to challenge herself. I would love to just say one line to her in a film like, “Would you like milk with your coffee?” I think I’d die.
What advice do you give actors around the world?
ML: Never give up. If you feel like there’s not many opportunities in your country or state or wherever, go out there and make something yourself. We have so many options for exposure now with the internet and social media platforms.
If you feel like you’re not getting enough opportunity in auditions or castings, create your own character, write your own piece and record it for a reel or just to post on YouTube. There’s endless opportunities to keep learning and exploring this world, never stop making art. No matter what way, professionally or in your backyard. It all adds up.
Briefly?
ML: From musicals in high school and college to characters in dramatic plays that are older and younger than I am at Stella Adler, like Ellen in The Factory Girls and Betty in Vinegar Tom, I’ve been lucky enough to play a wide range of characters. I just finished a preview production of Double Double by Emily Bennett at La Sala at Catina Royal in Williamsburg, NYC.
We will be doing a full production in late May-June. You can check out my website and keep up-to-date on the news area if you’re interested in tickets! I’ll also release the information on my facebook, if you’d want to follow that.
I also did an improvised scene for a production with Eastern Bridge Theater Co. and a sketch comedy show over the winter called A Sketch of New York. Definitely a lot more improv and sketch comedy to come for me, something that is currently keeping me fresh and inspired. The short film I just wrote and starred in, Retrograde, will be released this summer and my second, Imagine, will begin filming in July. Excited for the future and what it brings!!
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