Meet up with Charlotte Gulezian and you will soon be out of breath listening to her. She’s a enthusiastic talker, who seems to speak with every part of her body, but especially her eyes.  She laughs easily, has serious moments and is definitely in charge of her future and the road she will follow.  In our recent interview, we only had about thirty minutes to chat, but in that time she covered a lot of ground, from early school to future plans. Her recent directorial effort, Proof, for the Athena Theatre has received critical mentions in several reviews.

So what’s behind the drive behind this impish redhead with the contagious smile? We asked her about how she got to direct the play – how she got from Boston to Los Angeles, and if the play had any special meaning for her.

CG – When I was in Boston, I had to leave school after a month because my mom got sick; sort of parallel to Proof, since she (the character Catherine) had to drop out because her father got sick, so I really connected with the story. I never got to go back, and decided after awhile that I knew enough and thought I could try to do whatever I wanted to do.

RP - What was your first directing job?

CG – It was "The Most Massive Woman Wins", which is a one-act. And it just blew my mind when I did it. I couldn’t believe how much I loved directing. I didn’t understand then what directing was really – but I realized that I had to sort of act out every role in a way.

Especially then when I was working with actors who didn’t know how to act too well – so I had to help them along in the process; realizing its your story that you’re telling and it was amazing.

Since then I did Vagina Monologues in college which was really cool and we put on a big spectacle – like 22 women in the show – which I don’t know if I’ll ever do that again! It was hard to shut them up at rehearsal, but it was a blast! It was really fun. You know, most of the time the show’s done with three women or so, but it’s pretty crazy to have 22 – but it was really good, and I just continued from there – some films and things. 

RP – How did you get the job for Proof?

CG – I interviewed for it – and it’s funny because I knew it was about mathematics somewhat, so when I responded to her ad (producer Veronique Ory) I just wrote down all this stuff about how I compared art with mathematics – life with mathematics – theatre with mathematics and just kind of talked out of my ass and then I got the interview, and thought – I better read this play! I really thought I had no chance, considering that I’m in LA and everybody wants to direct – the fact that someone was looking for a director seemed really rare, so I figured I’d have a lot of competition. So I ended up getting the interview and read the play and was blown away. I hadn’t read something so good in a really long time, and I went to the interview directly after I read it, and I had so much passion about the story.

RP – Had you worked with Veronique before?

CG - No

RP – But you have worked in LA before?

CG – Yeah – I put on a play earlier this year – the Reindeer Monologues –

RP – And you came to LA recently?

CG – Yeah – I’m from Boston and I’ve been here a little less than a year

RP – So, do you miss the cold weather in Boston?

CG – Ahh – I miss the foliage – I miss the autumn in Boston. I miss the snow a little, too but I grew up here. I grew up bi-coastal – I spent my summers there and I grew up here from the time I was six, so I’m kind of used to it here.

RP – So are your interest going beyond directing?

CG – Yes. Acting and directing and writing – all three are a big passion of mine.

RP – What kind of things do you write about?

CG – I have so much material in my life that I think I could start there. But wherever I go to do that, it’s really hard for me – I either can’t go there – or have too much to say and I end up making it up. So I guess I’ll wait for now until I’m ready to write about my life.

RP – Do you think you would be the kind of artist that writes and directs and produces stories about your own life?

CG – Sure! I’d love to do that! I don’t know that I’m interested now in doing like a one woman show kind of thing, but definitely I think I’ve got some stories to tell in my life that people could connect with or learn from.

RP – What has been the biggest challenge for you to date?

CG - The biggest challenge has been trying to remember how to direct. I feel like every time I direct, I forget how again – like giving instructions. . .

RP - You mean like – "you do this" "you do that?" that sort of thing?

CG – Maybe it’s more like when you go in, and everyone is looking at you asking – ‘What do we do now?’ and it’s kind of each time I do it, I do it differently and I never know walking in how I’m going to do it, and it’s kind of scary, but at the same time it’s exciting and I was a little nervous this time because of the quality of actors I was working with and I didn’t know the producers. Everything I had done I produced myself, so I never had to worry because it was like "I’m in charge – and I handle everything", but here I just didn’t know where the boundaries were so it just kinda happened – organically, which is how it always does. I just walked in there and we started blocking immediately, we got them up on their feet and figured out the story together. I threw away all the blocking I had done before because none of it was right –

RP – I noticed that most of the performance took place either in stage right or stage left but there was almost no action in the center stage. It was open most of the time – was that something you wanted – are you aware that it was that noticeable?

CG – Hmmm -I am aware of it – I don’t do it for any sort of emotional reason. The one moment when I did put them in the center was the discovery of the book with the Proof – and the fight and almost every moment when the proof is transferred from one to another. But the real reason was that it seemed to me to be more natural that they would be on the table which was stage right, or the bench which was stage left – It never seemed natural for them to be in the center – that was really why.

RP – So the way the set was arranged – in the back yard of the house, you put the patio table on one side and the bench on the other. Could you have put either one in the center?

CG – Yeah, I supposed we could have, but coming out of the door that left the doorway open and it seemed more natural.

RP – So you were not consciously using the right side more than the left side. It’s not a thing about being left brain versus right brain dominant?

CG – (laughing) If you can remind me again which is which, I can answer that –

RP – Well – left brain is more analytical – right brain is more creative.

CG – I – I guess right – but I’m really more logical too. I studied philosophy in school – I’m really logical, but my life is creative, so I don’t know where I fall. Center brain maybe – using center stage?

RP – What’s your next project?

CG – I’m - working actually on this band that just started.

RP – A band? – tell me, you play either drums or bass.

Cg – I wish!! I don’t play an instrument at all . . . I sing. We just started and I ‘ve never done it before and it used to scare the crap out me, but I’m having great fun – Writing this songs and recording – we have one song that needs to be recorded, but I’m having a blast. I’ve been working on that and I’m going back to study some more acting.

RP – Going back to a college?

CG – No –no, I’m looking at places like the Beverly Hills Playhouse or Playhouse West – I’m just going to find a place to study and then I don’t know. I want to work on some films. I have a lot of friends from Boston who are here and are interested in film work, and I have some ideas for films – short films, so there will be some of that.

RP – So in fulfilling your ideas, will you put yourself in the film as a lead actor?

CG – Yeah, I will, but not a lead. I will give myself some real off-beat character roles.

RP – Like what?

CG- Well, in the last film I did I was a girl with no legs in a wheel chair; it was a comedy about how to be funny if you have no sense of humor, and these eccentric people go to this seminar, but the people running it just want to cheat them out of their money. There’s like only three people in the seminar and they’re teaching them about jokes timing and humiliation and I was the pathetic girl in the wheel chair.

RP – Do you remember Alex Bornstein doing a girl in a wheelchair in MAD TV some years ago?

CG – No – I don’t remember, but here we don’t hold back. We make fun of just about anyone and there’s nothing you can’t say about anyone in a wheel chair – but it’s just funnier.

RP – So what type of singing do you do in your band?

CG – I guess you could call it 80’s pop. It’s kind of what we’re doing right now. It’s highly synthesized and I sound like I’m 13 years old – I’m doing this really high funny voice. I don’t know what I’m doing – we’re just having a good time but it’s our first song and it’s really catchy and I don’t care if I’m good or if people like it – as long as you’re having a good time.

RP – So how many people in your band?

CG – Two.

RP – Two is a band? Isn’t that more like a duet?

CG - Well maybe –but White Stripes has two people – they’re a band!

RP – So the other person plays the instruments?

CG – He plays on the computer. –

RP – You mean synthesizing sounds on right on the computer?

CG – Yup

RP – and you sing?

CG –Right

RP –So how do you guys do live performances?

CG – We haven’t figured that out yet! This is just the beginning. But I’m so excited about it.

RP – So you haven’t sung in public yet.

CG – No – except in a musical. A Funny Way Happened on the Way to the Forum.

RP –And your part?

CG –I was a Protean – They play all the little roles – and I was so nervous – but I got an Irene Ryan nomination for that. I didn’t think I could sing and I was so terrified – it was the first musical I ever did.

RP – Where was that?

CG – This was is in Massachusetts

RP – That’s great

CG – Yeah – it was a shock and I ended up being able to do it. It’s funny that the things you are most afraid of you wind up enjoying once you get the courage to do it.

RP – So your next project will be either a film or a band

CG – Definitely the band – and I have so many friends that are into film – I have one who does sound – there’s a camera guy. These are talented people who need a little nudge to get them to do something.

RP – So you are the nudger?

CG – I guess I’ll take that upon myself – the catalyst maybe. I’ve been told I’m that – I never really noticed that until someone pointed it out.

RP - If this carries over to directing – are you the type of director that has this complex that things everything has to be the way you say?

CG – I listen to every idea definitely – I think I’m very gentle with the way that I put my ideas across – with my criticisms especially. I think I usually wind up getting what I want, but I also know that by the actors exploring their own characters they can come up with many good ideas that I would never think of. So I always listen and I got so many good ones from them.

RP – You had not read Proof before you did this?

CG – I read it just before the interview -

RP – You didn’t see the recent production by the East West Players?

CG –No – But I thing Veronique saw it and that’s what gave her the inspiration to do it.

I heard all about the New York production from Robert – and he was saying that they hardly any blocking and movement – that it was cerebral production and I’m thinking – Geez, that’s not the way I see it at all! I’m picturing a lot of movement – like he told me that the first day after we did the first scene – we had them moving all around and he said, Wow this is so different from what I saw in New York! And I said. Good! I’m glad I never saw any other productions so it didn’t influence me.

RP – Were you at all intimidated working with such experienced actors?

CG – At first it’s a little intimidating, but everyone was really good to work with and we wound up really having a good time.

RP – Have you read some of the reviews?

CG – I’ve read a couple – haven’t read any bad ones yet. (laughing)

 - I was nervous the first night – there was a critic writing furiously during scene 2-4 and I thought Oh God! What is he writing? That was Robert’s crazy scene – and I think people are either going to love it or hate it.

RP – So from what you have heard, are people getting the story? Are they missing the main thought?

CG – I think they’re really getting it. Even my friends who come to my shows and usually have very little critique other than – I like it or I don’t like it – are really giving me interesting feedback.

I think it’s one of those plays that you take what you want from it. Its pretty obvious its about trust – a small love story – and family. Some might be intimidated by the idea of mathematics, but it’s not really about that.

RP – Is there anything that we have not covered that you want people to really know about you?

CG – I think what I said about my mother at the beginning is important. I’m here doing what I want to do, and I think she would be proud of me now.

By now the time is getting close for Charlotte to rush to the theatre where she handles the box office. The Jamba Juice area where we met is now filled with screaming kids, making it almost impossible to continue the interview, so we decide that enough has been covered. But a few days later, an e-mail arrives from her pointing out some very important attributes that we didn’t cover.

Below, you can read for yourself some insightful facts about the real Charlotte Gulezian; things we never thought about asking, but no doubt are part of the true essence of this petite genius in progress who will certainly be heard from again, if not in theatre, in her band or in a film – soon to come to your local theatre.

" A few facts about me to know.....

-I love the red sox

-My favorite movie is "Harold and Maude" and "The Jerk"

-favorite new directors, Darren Aronofski , Wes Anderson, Alexander Payne.  Old Hal Ashby...and Burton is back if you've seen the new Wonka.

-favorite movie this year: Me and You and Everyone We Know

Biggest challenge in directing:  Trusting yourself and not giving up on an idea, a vision, no matter what reactions you get from the cast and crew.

-favorite band: The White Stripes, right now.

-I laugh a lot

-I don't mind making a fool out of myself

-I'm a true Aquarian"

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