A National Theatre School of Canada graduate needs no formal introduction when they take part in an introspective look at the industry in which they excel.

For Stephanie Belding, who is currently playing Kate Keller in William Gibson’s classic story The Miracle Worker on stage at Lorraine Kimsa Theatre for Young People, acting is a way of life rather than a career one chooses to pursue.

In a Medium Close-Up exclusive, Stephanie Belding details what kind of script she finds appealing and also shares her belief in the secret to longevity in theatre.

What fascinates you most about acting?
I think there’s something to the transitory nature of the work—it’s never the same thing twice. It’s not like I’m punching the clock from 9-5 for twenty-five years for the corporation. It’s feast and famine and we have extraordinarily little control of how and when we work. It’s always something different and it’s always a mystery what the end product will be.

Is acting an art that anyone can succeed at with training or are there natural traits one must possess to excel in this discipline?
The most important thing is that you have to want to do it more than anything else at the expense of everything else. Talent is born—is God-given—is whatever your genetic traits are. I do think it’s a craft, though. Like any sport, any art—you need to constantly work at it. Acting can’t be done in a void. It’s a communal experience.

Marlon Brando once stated that acting was the expression of a "neurotic impulse." Do you believe this is true?
That’s Marlon Brando, the man’s a freak! In one sense, I think it can be. I’m much more interested in seeing acting that informs me where the actor is, what he/she wants, what he/she is doing, what he/she thinks is going on. So I guess there’s validity to that claim.

Who is more important to the production, the actor or director?
They’re one in the same. You really can’t have one without the other. Beyond that, there’s a designer and producer. You all have to be on the same page. You want an outside eye as an actor no matter how right you think you are. You’re both there to feed each other. I’ve had directors who come in and push you around—you’re an automaton in that sense. I’ve had other directors who show up and say ‘o.k. I don’t have the answers, let’s figure it out.’

When you flip through a script searching for a character that you may audition for, what traits do you look for?
Traits that catch me are a strong sense of self whether or not they know it. It doesn’t matter whether or not if I like them. I think it’s much more fun going after the parts that I really don’t understand. The same way you’re compelled by some person’s story although you can’t explain it. Those are really interesting. And the one’s with great little journeys.

Tell me about a role that you played where something went horribly wrong on stage but you covered up the best you could.
I remember performing in a production of Cavalcade. We did one show that during the third act, the stage was on a revolve which was warped so the hydraulic wasn’t working. Myself and the other actors were trying to keep the revolve moving—it was like we were skating boarding—one foot on and pushing. This big Plexiglas fan unfolds during the song but during this show, it became caught on something and snapped. It nearly decapitated a few actors on stage.

What stage actor goes down as one of your all time favourites?
Sarah Orenstein. Having watched her and then working with her—she has such a gift for strength and passion in her work that is effortless and full of grace. And always a core of truth and great humanity in her work. It makes me want to be a better actor when I watch her.

The pace of an actor's career varies from person to person. Some start off strong and then disappear while others come out running later than expected. Why do you suppose this is?

It’s the luck of the draw. When I came out of National Theatre School, doors were open for six months to a year. I could get into all the generals I wanted. And there’s something about what the hit shows are. This year companies across Canada are doing Proof. That’s a role for 20 something women. There’s a ton of actors but not a ton of work. One of the advantages of being in rep company is that you get 9 months of solid work doing different shows and keeping yourself well oiled so you don’t have to work for a couple of years and get back into it.

What is the secret to longevity in the business?
Having a life! For me the most important question is: what defines me outside of the work. Finding a sense of self and faith and happiness doing something away from the industry. Because if you don’t—you’re lost. You’re only an interesting actor when you have interesting elements to bring to the work. If there’s nothing outside of the work—what kind of stories do you have to compliment your work?