‘Eurydice' Star Maya Hawke on Making Her Off-Broadway Debut, the End of ‘Stranger Things,' and Her Fan Letters to Emma Stone
First of all, let me say that I fell in love with acting doing a Greek play. The play I did that made me want to be an actor was Euripides's The Bacchae. I played Agave and we did it in masks, which was the traditional Greek way. There was this community-building effort that occurred, and it's happened in almost every play I've ever done, where you become a part of this troupe and this team and you almost try to magically conjure the story, and it is as much about the rehearsal process and table work as it is about the product. But then I started working, and my first job was [the BBC's Little Women], and I was supposed to do a play right after that, but the funding fell through and the play didn't happen. And things like that kept happening. I was gonna do a different play and then the Stranger Things schedule didn't work, or I got scared about my voice.
I think endurance is the most different part. In film work you can kind of hurt yourself, but it's okay because you don't have to do it again tomorrow. You can scream so loud that you hurt your voice, but it's okay because that was the screaming scene and you don't have to do the screaming scene tomorrow. Or you can do a stunt and really give it your all and get sore and hurt yourself a little bit. In the theater you have to build a performance that has endurance, that takes care of your voice for the whole run of the show, that takes care of your body for the whole run of the show, and takes care of your emotions for the whole run of the show.
Completely. On that note, I wonder what it is like to channel so much grief every single night. Are you exhausted?
Yeah. It's also fun. It's as exhausting when you do it right as when you get it wrong. Because when you don't meet your own expectations of emotional connectivity, then you punish yourself. And I can't say that I've totally figured it out yet. But I believe that what I'm trying to do and what I think actors generally are trying to do is to exist simultaneously in the reality of the world of the play and in their own emotional reality, and to allow those two worlds to blur and cross like a kaleidoscope.
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