 Wade Mccollum
IMAGE: AMY OUELLETTE |
The cheerful Portland Center Stage volunteer summed up actor Wade McCollum's status as Portland theater royalty when she picked up the phone to page him: "You must be here to write another rave about Wade."
Wade McCollum, 28, has enjoyed his share of raves in his stop-and-start stint this past decade as a Northwest-based actor and musician. Since coming to Portland after graduating from the Pacific Conservatory of the Performing Arts in Santa Maria, Calif., McCollum has starred in productions of Bat Boy: The Musical at PCS and Hedwig and the Angry Inch in both Portland and Los Angeles. Along the way, he's picked up a few Drammy awards.
But McCollum is scheduled to leave Portland, and the West Coast, to chase the dream in New York City, departing—"not moving, but searching for new collaborators in a new city"—with his partner, Noah, as early as this January. WW asked McCollum in an exit interview about his thoughts on the Portland theater scene that he's leaving behind.
WW: Can a theater artist make a living wage in Portland?
Wade McCollum: There's an enormous amount of people here who create for art's sake. You've got your day job and you're doing your creative work, too. Everybody should feel they have the vision to create their own art form, but the only money coming into the arts is from individual donors, and that's mostly coming to Portland Center Stage. Portland has only so many theaters that pay—two, maybe: Portland Center Stage and Artists Repertory Theatre. And barely at ART.
What do you make?
It ranges. I was making $7 a show in Los Angeles. I've made $130 a week. There is no average Equity wage: I've been paid between $7 a show and $1,000 a week. God knows I've lived in the car for most of the time I've been a professional actor.
How would you rate the Portland theater talent?
Talent is hard to rate. There are these people doing it because they love it, but there's also a lack of technique and professionalism and true training here. Portland needs a really good conservatory-level theater training program. Portland Actors Conservatory doesn't quite cut it. If there were two or three other professional, Equity-level companies, then yeah, people could live here and could create a real yearlong acting life. Portland is a tiny little town, but it dreams big. Portland is a gestation place. But the media attention isn't here. The national, international network thing isn't here.
Why are you leaving the West Coast?
To be in a place where the grid is set up in a larger way. It's hard for people to understand that I don't really live anywhere. I'm going to New York City and I'm staying for some time. It's not necessarily a "move," per se. I want to plug projects into a larger grid and find new collaborators.
OK, what's next?
I'll be taking 10 days of meditation and service, and I'll be working on One [McCollum's new musical-in-progress]. After that, Noah and I will be driving to L.A., packing up his apartment—we might sell it all—and we're gonna go to New York. That's the plan. I feel like it's time, and there's some sort of romantic idea of what it means to move to New York and be an actor. I've won my awards in L.A. and Portland, and made some contacts in New York, and it's just where everybody is. I really feel successful. If I died, I'd be, like, cool. In most of my waking hours I'm working on things that help; I'm trying to create art that's in service.
Will you ever come back to Portland?
I'll always consider Portland home. Noah and I would like to buy something here. I just for the first time in my life went to the dentist, and I didn't have any cavities. I just did my taxes for the first time this year—I've really been a gypsy social outcast. Portland feels like a place that is safe, and a place where I feel welcome. I'll miss the oxygen.
McCollum's current starring role at Portland Center Stage is as German transvestite cultural icon Charlotte van Mahlsdorf (and 34 other characters) in I Am My Own Wife. The play runs at Gerding Theater Studio through Dec. 31. Tickets, $16.50-$59.50, are available by calling 445-3700.
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In response to the recent question raised in the Willamette Week, "Can a theatre artist make a living," I have some thoughts of my own, perhaps a slightly different perspective and, the answer is "yes", a theatre artist can make a living in the Theatrical Arts, but one has to craft out how that will look.
For each theatre artist the journey is different. Some feel in a larger market such as New York City or Chicago, where there is an amazing amount of opportunity, it's just easier to make a living as an artist. That was how I felt back in the late Nineties. Some may find it easier and more fulfilling in Portland. There is no rhyme or reason why this is so.
However, it is possible, as many others here have also written.
Moreover, I must say it is time to let go of the idea that Portland has a lack of professionalism and technique, while other, larger markets do not. A lack of professionalism and technique can be found in any city you go to. I might add that technique is just that: "technique," something technical which we as actors may rely on in moments when things aren't quite "organic." Technique is a way to bridge that gap. Sometimes performers may be wonderful technicians, but lack the ability to go deep and bring to the table the "truth of the moment" in an organic way.
I would have to say that the "bar" is rising on Portland stages, and although some may see Portland as a "tiny little town," many of us in this community work at bringing national attention to Portland and the theatrical arts. Jaw West at PCS is a perfect example. Profile Theatre on a regular basis brings nationally and internationally recognized playwrights and other theatre craftsmen to town for symposiums and discussions concerning not only their specific works but the health of theatre in general. On a semi regular basis one can read articles in American Theatre Magazine about Portland theatre companies in pursuit of their artistic endeavors.
If you really look the attention Portland gets is noted nationally, and our national attention is growing.
All that said, I believe when a city begins to feel small it is time to travel and work with other artists in other places. To be challenged, pushed and prodded, and bring into your experience new energy. It changes us as artists and human beings. It deepens our life experience and we bring that to our work.
Respectfully,
Michael Mendelson
I just wanted to say: I feel like such a jerk after reading that Q and A in the Willamette Week! Argh, press....
I read that article and thought, the title should be: "What Stephen Beaudoin (or his editor) really think about Portland theatre." It's not that I didn't say those things, I did - but they chose not to include any of the positive things I said about this incredibly beautiful growing theatre community... only the critical things, and some of which are taken completely out of context... Being a part of the community in Portland and founding a growing theatre company here, all of those criticisms are directed at me too - but the way the article sounds is that I am leaving because Portland is not good enough!! That could not be further from the truth.
The article did not express my IMMENSE gratitude to the Portland theatre community! It did not talk about all of the insanely talented people that grace the Portland stages, that every time I see a show here I think "How amazing is this town with it's outrageous talent pool... they deserve bigger paychecks." They only printed my statement about the raw talent pool's lack of technique - but not what directly preceded it... my pure respect and awe filled admiration for those people who have such raw talent and dedication to their craft; the heros who make art for art's sake!! Portland deserves an affordable highly professional training program / conservatory IN PORTLAND. It's not that I don't like Portland Actors Conservatory - I just would love to see a full time, internationally recognized conservatory type training program that will widen our professional pool, as well as diversify and train the talent that is already here.
Of course for all of those actors to all work and make a living wage year round we need more professional Equity companies who are not under the umbrella... it's a challenge to grow those companies - it takes time and a whole lot of effort and determination - but there are companies in town that most certainly will be those professional companies soon, but right now - wow, a whole lot of small growing theatres and only so many donors /foundations to support them. THE ONE THING I SAID OVER AND OVER BUT NEVER WAS PRINTED IS THAT WE NEED NATIONAL FUNDING FOR THE ARTS SO THAT ALL OF THEM CAN THRIVE, REAL FUNDING - NOT THE CRUMBS BRUSHED OFF OF THE GOLD PLATED TABLE WHERE THE MILITARY INDUSTRIAL COMPLEX IS FEASTING - BUT WHOLE HEALTHY HOT MEALS TO FEED THIS STARVING CLASS OF ARTISTS / COMPANIES WHO WORK FOR NEXT TO NOTHING, OUR SOCIETY DESPERATELY NEEDS THIS ART - THIS THEATRE - How many times have I been to a show in Portland and it is topical, vital, revolutionary, and there are three other people in the audience! What the F--K!! It is hard for me to see that amazing theatre go unseen. Perhaps if we all band together- perhaps if the nation decides that theatre / art is a priority, perhaps if theatre is taught in school, then maybe this ancient and essential tradition will be revived, a renaissance... I've always thought that Portland is ripe and ready for this type of solidarity. This town takes risks - is filled with intrepid action oriented souls who are yearning for a better way - So what do I really think of Portland's theatre scene? I THINK IT COULD BE THE MOST FERTILE AND PROACTIVE BREEDING GROUND FOR A VERITABLE RENAISSANCE
In closing, anyone that knows me, knows that I have been wandering my entire life. I have no intention of leaving Portland forever, I'm just checking out other countries and cities, widening my own network, and continuing to grow. I want to take classes, keep learning - honing this honorable and important craft of telling stories, soul to soul. I am not leaving Portland because I think it is not up to par - I am simply and excitedly exploring the next stages of my own adventures in life... If there's one thing I've learned from this article it's that I cannot judge someone from reading an article about them, because the editor is a mighty powerful thing!!!
In Infinite Love, wade