Creating Francine Bentley- the Complicated Fraud Facade

Francine Bentley. Friend to all she knows. Sweet and hospitable. Middle-aged and cultured. Masquerading murderess.

What? You might be thinking, but you read right. A Party to Murder, written S.O.S. (Shine On Stage) drama director Sharon Manacapilli, centers on this deceptively docile individual and her plight to keep the Seven Chimneys inheritance for herself. But, when she hosts a birthday party for her best but ever-forgetful friend Abigail Pennyworth, she finds some of the nosey party guests know a little too much. As bodies are found dead and tension builds, Francine begins to aim the threats at herself. But, with the rest of the curious assortment she calls friends terrified into taking action, can she really keep her secret?

This is the character that I want to audition for. She'll a bit different than any character I've ever done, because her cool calm has to be backed by a motive. Many actors play their lines. If I want Francine, I'm going to have to play my part.

Perhaps the hardest aspect about Ms. Bentley is that she's two-fold- sweet to your face but plotting behind your back. However, she hardly has a minute to herself on the stage where her true nature can be revealed. How is it done, then?

Well, part of acting is reacting. When I said above that I'll have to play my part in order to get Ms. Bentley, I meant that I'll have to shed Brittany altogether for however long I must and step into Francine's shoes. A sweet disposition and a smile can easily be adopted by almost any false personality, but only for a time. Often times our expressions, the way we hold ourselves, the hardness or softness of our eyes, or a habit such as the popping of fingers or twirling of hair betray our true emotions when we do not realize it. And that's how I'm going to play Francine's part. It'll be the subtle nuances- the wringing of hands, the cold probing of her eyes, watching everyone's every move, the reaction to the bodies being discovered, and perhaps even her nervousness when encountered by the police. But when she speaks, all of it will evaporate into an inviting smile, keeping the audience guessing.

And that's probably what I love most about Francine. The magnanimous facet of her role is not what she says, it's the screaming silence waiting to explode when her slyness sits back, watching all even as she schemes the fates of some.

But what's especially hard about her? She's not me at all! In fact- she's just about as opposite me as you could get! She'd be a lot of work, and I'd probably not master her until the night of the performance, but if acting were being who you really are, would it be called acting? I doubt it. Plus I can always thank God for the chance to stretch myself, try new things, and reach for the stars.