Rival

INTERVIEW: Actress Robin Karfo Discusses Long and Fruitful Career Plus “A Brush With Love”

[as originally published on rivalmagazinela.com]

With nearly 50 years in the game, Robin Karfo is an accomplished actor, writer, and coach known for her brilliant roles in television and film. You might recognize her from Grey’s Anatomy, CSI: Cyber, or How to Get Away with Murder alongside Viola Davis, sharing the screen with some of Hollywood’s finest.

Born and raised in Brooklyn, Robin's artistic journey began at the High School for the Performing Arts, followed by training at NYU. She made her mark in Off-Broadway productions, collaborating with legends like Tom O'Horgan and appearing in Wrong Guys, produced by The Public Theatre.

Now thriving in California, Robin has graced stages at renowned venues like The Magic Theatre and Berkeley Rep. As a writer, her solo piece “Cages” received a nomination for “Best Original Script,” and she co-wrote the delightful Hallmark rom-com “A Brush with Love.”

What got you into acting in the first place? And how did growing up in Brooklyn play a role in that journey?

It may be hard to believe, but when I was growing up in Brooklyn, it had a very small-town feel. My neighborhood had mom-and-pop stores, the Italian butcher, and the Jewish deli man. We even had this tiny shop that only sold stockings—this was pre-pantyhose! Those vendors knew you. They knew your mother. It was a true melting pot of ethnicities and races. It instilled in me an appreciation for our differences as people and the value of that. New York is a people-watching place. Actors create and inhabit characters, and growing up in Brooklyn built an internal library of characters for me to draw from. My journey as an actor began because of my Jr. High School English teacher, Mr. Biancoviso. He pointed me towards the School for Performing Arts in Manhattan—the school the movie Fame was based on—and the rest is history. 

What made you pack your bags and head to California? How did that change things for you career-wise?

At that point, I had close to a decade of performing on New York stages under my belt, Off-Broadway, which was a great training ground for me. That was a very creative time, which I’m grateful for. But eventually, I wanted another game. I wanted to branch out into TV and film, so I headed west to LA. I’ll never know how my career would have evolved if I had stayed in New York. Those two cities are very different, and the industry in each of them is an entirely different animal. I have found that there are pros and cons to both. Theatre gave me a solid foundation, whereas TV and film were new territories—and I loved that. Working opposite Emmy- and Oscar-winning actors on the sound stages in Hollywood has been a blast. 

You’ve tackled both drama and comedy—how do you switch gears when prepping for a character in each genre?

I’m not sure if I switch gears. There is a consistency in how I approach my work across both genres. As they say, comedy is serious business. I love that. I just go for the truth in the character and the situation and let it fly. 

Can you walk us through your writing process for your solo piece, “Cages”? What themes were you trying to dig into with that one?

When I was living in Marin County, I took a performance workshop at the College of Marin with a brilliant performance artist, Claire Blotter. Wow! Was she thinking out of the box? One class she brought in a bunch of hats, threw them on the floor, and told each of us to choose one and let the hat inspire a character as we wrote down what they had to say. I grabbed a fedora, and a Sax playing New York Jazz musician, Jack, showed up. I’d say he’s a cross between my father, Al Pacino, and me. Out of that monologue came my one-woman show, Cages, wherein I played three characters simultaneously by interacting with life-sized video projections of the alternate characters. I wasn’t consciously chasing any theme really. I had a story to tell about these three people and simply told it. In the final analysis, I guess you could say one theme would be how love sometimes misses its destined target.  

What are some of the toughest challenges you’ve faced in the entertainment biz over the last fifty years, and how did you manage to get through them?

I’d say a big challenge was keeping the faith—keeping my eye on the dream. There can be a lot of counter-intention coming our way as artists, and I’ve had to learn to turn off those external and internal voices that would say, “Who are you kidding?” I’ve kept putting one foot in front of the other and learned how to celebrate my wins, big and small. Fortunately, I love being an artist. It really is my true purpose, so none of the challenges ever felt unsurmountable. I’m stronger because of them.  

As a co-writer for “A Brush with Love,” what was the highlight of that project for you? How did you vibe with the team during the process?

I was invited to help with refining dialogue, which, as an actor, I have a strength in. The story was essentially already there when I began to help. My team was simply Michael O’Brien, one of the executive producers. We had a great working rhythm together. I’d never contributed to the development of a TV movie, so the highlight was that it was a first for me and opened my eyes to another potential avenue for my career. The movie later embraced two other writers, but I was finished by then.

Theatre and TV are totally different worlds—do you have a preference for one over the other?

Different worlds indeed, both having wonderful aspects to them. There is nothing like stepping onto a stage in a dark theatre and feeling the presence of each person sitting out there who has come to have an experience with you. I love that so much. And boy, does it take training and focus to maintain your character’s life from curtain up to curtain down—non-stop. It’s a wild ride. The energy exchange between the audience and the actors is palpable and delicious. Then cuts to being on a sound stage with the presence of dozens and dozens of collaborating artists who make “movie magic” happen. There is a speed at which production flows on a set. Time is definitely money there, so you have to know your part and do it as flawlessly as you can. I love both those worlds, but have to say that theatre—the centuries-old ritual of theatre—is where my heart lives. 

Out of all the roles you’ve played, which one hits home the hardest for you, and why?

Crazy as it may sound, the role that challenged me the most was actually one I prepared for a scene in my acting class. I was studying with the late, great Milton Katselas in Beverly Hills. I reworked a section from Terrence McNally’s Master Class, based on the magnificent opera singer, Maria Callas. I did extensive research. I read every biography, listened to every recording, and watched every video of her performing in the greatest opera houses on the planet. I dipped myself into Maria’s universe. I related to her as a fellow New York Greek-American and as a singer-actress. In McNally’s play, Maria doesn’t sing. However, I wanted to study with an opera coach to learn an aria. In the green room, before taking the stage, I asked Maria to help me and to guide me through it. And she did. Her presence was palpable, and I found myself singing the aria in a way I never had in rehearsal. On the final note, the theater of a hundred fellow actors rose to their feet.

How do you think acting has evolved over the years, especially with all the streaming and digital stuff taking over?

I can’t say that acting has evolved, per se. We had greats centuries ago in the amphitheaters of Greece, and before movies had sound. And every year we see new dynamic actors show up on big and small screens. I watch a lot of streaming content, and there is a huge banquet of genres and styles generated by writers and actors. Everything from the grittiness of Breaking Bad to light and fluffy entertainment. And actors are inhabiting characters for us to relate to and be inspired by. But, as I’ve said, that’s been going on for a long time. What’s new is the crossover some actors have launched into by creating their own streaming content. I experienced the thrill of doing that in the theatre with my one-woman show, and it’s ridiculously empowering.  

What’s on your radar right now? Any exciting projects lined up for the coming year?

I’ve been doing some soul-searching, and what’s on my radar is getting back to creating content. I love to write and want to construct pieces for both the theatre and TV/film. I’ve been walking the planet for decades this lifetime, and I feel I have a point of view that is worth communicating. I’m also just about to launch an online course, The Thriving Artist Course, to help fellow artists navigate a sane, healthy, balanced life and career. My website will soon reveal more, which is RobinKarfo.com

Medium

Robin Karfo On The 5 Things You Need To Create A Highly Successful Career in TV and Film

[as originally published on medium.com]

As a part of our series about creating a successful career in TV and Film, I had the distinct pleasure of interviewing Robin Karfo.

Robin Karfo is an actor, writer, and coach with an extensive career spanning almost 50 years in television, theatre, and film. She is best known for her on-screen performances opposite Emmy- and Oscar-winning actors in such productions as Grey’s Anatomy, CSI: Cyber, NCIS, How to Get Away with Murder (opposite Viola Davis), and NYPD Blue. Additional on-screen credits include ER, Judging Amy, The Guardian, Crossing Jordan, Without a Trace, Criminal Minds, Dragnet, and The Bold and the Beautiful.

Thank you so much for joining us in this interview series! Can you tell us the story of how you grew up?

I grew up in Brooklyn, New York, where my sister and I were raised by our mother after my parents divorced when I was about three. I was surrounded by my Greek grandparents, aunts, uncles, and cousins. They were quite the colorful bunch, full of life and personality — never a dull moment. Brooklyn, back then, had this small-town feel, if you can believe it. It was a melting pot — different ethnicities, races, and religions all mixed together. I loved that about it. I think growing up there gave me a deep appreciation for our differences and how they make the world so much richer, you know? And of course, New York is the place for people-watching. As an actor, our job is to create and inhabit characters, and Brooklyn was like a living, breathing treasure chest of them. Growing up there gave me an internal library of voices, faces, and stories to draw from in my work.

Can you share a story with us about what brought you to this specific career path?

Fate definitely played a role in all of this. I could have so easily missed the boat on becoming an actor if it hadn’t been for one teacher who saw something in me and took the time to help.

In junior high school, my English teacher, Mr. Biancoviso, noticed me after seeing me perform in a few school plays. One day, he pulled me aside and told me about the School for Performing Arts in Manhattan — a public high school where students majored in acting, dance, or music. I had no idea something like that existed. I still remember that moment: my first audition. I had no clue what I was doing, but I wanted it, and somehow I made the cut. I got in. Looking back, it’s incredible to me how one teacher, one person, can completely change the trajectory of your life just by believing in you. I’ll always be grateful to Mr. Biancoviso for seeing me when I didn’t yet see myself. That moment changed everything.

Can you tell us the most interesting story that happened to you since you began your career?

I’ve had so many incredible adventures in my career. Starting out, I spent nearly a decade working in New York theaters, mostly Off-Broadway. I loved every minute of it, but transitioning to TV and film in Hollywood was a whole new adventure in itself. It still blows my mind to think back on walking onto those iconic LA sound stages and working as a guest star opposite Emmy- and Oscar-winning actors on legendary shows. Let me tell you, working with Viola Davis on How to Get Away with Murder was an absolute ride. She’s a powerhouse — so present and so generous. I loved every second of it.

Another great experience was when I received a grant to produce my solo theater piece in San Francisco. I was gifted a director, producer, composer, musicians, videographer, crew, and a theater to bring it to life. I played three roles simultaneously, performing live on stage while interacting with life-sized video projections of my alternate characters. It was empowering and an absolute blast to speak dialogue I had written myself. That piece, Cages, ended up being nominated “Best Original Script” by the Bay Area Critics Circle. It was the first theatrical piece I’d ever written, and seeing it come to life like that was pure magic.

It has been said that our mistakes can be our greatest teachers. Can you share a story about the funniest mistake you made when you were first starting? Can you tell us what lesson you learned from that?

I was pretty young, performing in the play Stage Door. I’ll never forget this moment. I was wearing a long moo-moo — a flowing, peasant-style dress — and everything was going fine until I turned upstage to deliver a line. Suddenly, I heard this roar of laughter from the audience — way bigger than the line deserved. It didn’t take long to figure out why. The back seam of my dress had split wide open, and I was unknowingly giving the audience a full view of my backside. Yep, my ass was out there for all to see. The lesson? If your butt feels drafty, don’t turn upstage.

What are some of the most interesting or exciting projects you are working on now?

We’re waiting on the release of a feature film we shot in Toledo. I love doing comedy and it had been a while. A lot of the TV I’d been doing was more dramatic, so this was a welcomed change. I can’t divulge details just yet, will have to wait for the formal press release.

On the coaching side of things, I’m working on launching an on-line, self-paced course to help actors navigate the business of their career. I had been acting for decades before a teacher addressed that part of the equation. Focus was always on craft, craft, craft — as it should be. But there has to be the balance of knowing how to survive and flourish as an artist, how to be the CEO of our “company,” even if we’re just a one-man-band. Artists are my favorite people on the planet, so to be able to draw from decades of experience and hand them the fruits of that experience makes me happy.

You have been blessed with success in a career path that can be challenging. Do you have any words of advice for others who may want to embark on this career path, but seem daunted by the prospect of failure?

For those just starting out, here’s something I’ve learned: if we let go of the pressure to become superstars in three seconds flat, the whole journey becomes a lot more enjoyable. Life is a game — full of goals, barriers, wins, and losses. And being an artist, in any form, mirrors that perfectly. What’s helped me is realizing that the same creativity we pour into our art can — and should — be applied to building a rich, vibrant, and multi-faceted life. Balance is everything. Yes, we need to focus, to be persistent and strategic about our work, but we also need to live. As actors, our job is to represent life — whether on a theater stage, a sound stage, or wherever the work takes us. But how can we recreate life truthfully if we cut ourselves off from it? We’re not monks, and the cave called “acting” can’t be the only place we exist. Life feeds our art, and art feeds our life. The more we engage with the world — its beauty, its messiness, its joy — the more we have to bring to our work. And in the end, that’s what makes the journey worth it.

We are very interested in diversity in the entertainment industry. Can you share three reasons with our readers about why you think it’s important to have diversity represented in film and television? How can that potentially affect our culture?

I believe the answer is simple. As artists — whether in film, TV, theatre, music, dance, or visual art — our purpose is to depict life in all its beauty, complexity, and truth. How can we do that authentically if we don’t honor all life? For centuries, humans have come together through art to witness, understand, and celebrate life. Life itself offers us an extraordinary banquet of diversity, and as artists, we have a responsibility to reflect that. Every culture, every race, brings its own unique strengths, talents, and stories to the table. Everyone deserves a seat at that table. As creators, let’s embrace the full richness of humanity — because that’s how we create work that truly resonates and endures.

What are your “5 things I wish someone told me when I first started” and why?

1. Don’t underestimate the power of what someone, including yourself, can do to change the trajectory of your life or career, like my teacher did with me.

2. Treat your career as a business whose CEO is you.

3. Don’t look at acting as a competition. Don’t view it from the standpoint of “keeping up with the Jones’s.” Enjoy the ride and the community you’re a part of.

4. There’s rarely an “overnight success.” Get ready for the long haul and enjoy every beautiful minute of it.

5. If you haven’t already, consider creating your own content. It could be as small as a monologue or as ambitious as a screenplay or TV series. Don’t underestimate your skill as an actor. Your talent can easily bleed over into such avenues as writing, directing, or producing. Dream big… READ MORE

Getty Images

“From Embers" Los Angeles Premiere

CULVER CITY, CALIFORNIA - OCTOBER 27: Robin Karfo arrives at “From Embers" Los Angeles Premiere on October 27, 2024 in Culver City, California. (Photo by Michael Bezjian/Getty Images for Studio 6688)

V13 Media

Robin Karfo Discusses Her Career and Her New Role In ‘The Toast’

Longtime actress Robin Karfo joins us today to discuss her work and her latest role in the new Jon Lovitz comedy ‘The Toast.’

[as originally published on v13.net]

It’s been a long, productive, and illustrious career for Robin Karfo. The actress, writer, and producer has been in the business now for nearly 50 years, appearing in a wide variety of television, film, and theatre productions. Born and raised in Brooklyn, she attended New York University and gained experience through a decade of Off-Broadway Theatre productions. Karfo has appeared in countless high-level shows and productions, with credits that include Grey’s Anatomy, CSI: Cyber, NCIS, How to Get Away with Murder, NYPD Blue, ER, Criminal Minds, and so many more.

Karfo’s latest project is the new film The Toast which stars the comedy legend Jon Lovitz. In the film, she plays the role of Hil, the wedding planner. The film is about a wedding party at a country club in Toledo, Ohio as the father of the bride, and known drunk, Bob (Lovitz) insists on giving the welcome toast. Aware of what potential disaster lies ahead, friends and family scramble to stop him.

Here are twelve interview questions for Robin Karfo (website here) as she discusses her upcoming role in The Toast.

How has your experience in dramatic roles influenced your approach to comedy in The Toast?

Robin Karfo: “I’ve had the great fortune of studying with some powerful teachers, Jeffrey Tambor being one. He would tell us that comedy is ‘serious business’ — you go for broke, you don’t play the comedy. Now there is always the awareness that you’re in a comedy, but I’ve found that the more I look for the reality in a scene, the better. In The Toast, my character Hil is the wedding planner and she’s working overtime to keep it all together. She’s holding on by a thread. I just played her as the woman she is, having to deal with an event nearing a potential catastrophe.”

Can you tell us about your character in The Toast and what drew you to this role?

“I immediately connected with the character while preparing for my audition. I knew exactly who she was. Having come from a family of strong, Brooklyn-based Greek aunts and grandmothers, a sense of focused relentlessness was instilled in me from a young age. So, aligning with Hil came easily. As the wedding planner, Hil has to ensure that all the moving parts are well-oiled and pushing forward in an organized and timely manner. I had a blast stepping into her!

“I also love that the film is a comedy because a lot of the TV roles I’ve done in L.A. were mostly professional women, lawyers, judges, etc. There’s not much room for humour there, so this was a fun change of pace. I did a lot of comedy when I was in New York working Off-Broadway and I’ve been missing it. The Toast gave me the space to let my wacky self rip, and that was such a treat!”

What has it been like collaborating with Jon Lovitz? Any memorable moments from the set you can share?

“While filming, I watched Jon crush a monologue. He was mesmerizing. I knew of his strength in the comedy world, but he blew me away with his dramatic work. He took us on an emotional roller coaster!”

Reflecting on your extensive career, what are some key moments that have shaped you as an actor, writer, and producer?

“Of those three hats you mentioned, I relate most to my work as an actor. I started my formal training at fifteen at the School for Performing Arts in Manhattan, and feel as though one of those ‘key moments’ spanned my entire three years there. We spent the morning studying a standard New York public school curriculum. Then we’d go to lunch, and in the afternoon we would ‘create-our-brains-out’ as an actor, dancer, or musician. It laid down a solid foundation for my continuous development as an artist.

“Another ‘key moment’ occurred on the opening night of my solo show Cages in San Francisco. I walked out on stage and for the first time in my career, the dialogue I spoke was written by me. That was powerful. I’ve taken something away from every performance experience, whether in the theatre or on a film/TV set. It has all shaped me.”

You’ve written both solo pieces and for film. How does your writing process differ between these formats?

“For the Hallmark project, I was brought on to enhance the dialogue. I feel I have a strong ear for dialogue and its musicality, so that was great fun. I’m by no means a ‘screenwriter’ yet, but I’m working on it. I’m currently studying through UCLA Extension Writers’ Program and of course, reading books on the craft.

“Frankly, my acting career has taken so much of my focus and time that I haven’t been able to complete the feature I’ve been nursing for a few years now, but I’ll get to it. The structure of a screenplay and a script for the theatre overlap in many ways, and, in some, they differ. The script for my solo show almost wrote itself because of the decades of acting work I’d done in the theatre. The feature script has required much more conscious crafting.”

How did your training at the High School for the Performing Arts and your Off-Broadway experience prepare you for your roles in television and film?

“In the end, I feel that acting is acting. Yes, there are a few adjustments we need to make when working in front of a camera, but the bottom line is knowing your craft and delivering what the script needs of your character. Every play I was in Off-Broadway prepared me for arriving in Los Angeles to work in TV and film. Theatre experience builds muscles of endurance, focus and confidence.”

Among your many roles, which one challenged you the most and why?

“The role that challenged me the most was actually one I prepared for a scene in my acting class. I was studying with the late, great Milton Katselas in Beverly Hills. And I reworked a section from Terrence McNally’s Master Class, based on the revolutionary opera singer, Maria Callas. I did extensive research on her. I read every biography, listened to every recording, and watched every video of her performing in the greatest opera houses on the planet. I dipped myself into Maria’s universe. I related to her as a fellow New York Greek-American and as a singer, despite having never performed opera.

“In the play, Maria doesn’t sing. However, I had an idea and studied with an opera coach to learn an aria. In the green room, before taking the stage I asked Maria to help me and to guide me through. And she did. Her presence was palpable and I found myself singing the aria in a way I never had in rehearsal. On the final note, the theatre of a hundred fellow actors rose to their feet.”

Growing up in Brooklyn, how has your upbringing influenced your acting style and choices?

“When I grew up in Brooklyn, it actually had a very small-town feel, if you can believe that. It was a melting pot of ethnicities, races, and religions, which I loved. I think it instilled in me a deep appreciation for our differences and similarities that all make the world more rich, right? And New York is certainly a people-watching place. As actors, we create and inhabit characters. Growing up in Brooklyn built an internal library of characters for me to draw from.”

What advice would you give to young actors and writers trying to navigate the entertainment industry today?

“I’m at a place in my career where I feel it’s my responsibility to share what I’ve learned on this long and winding road. I’ve created an online course to help actors navigate the terrain of an acting career, The Thriving Artist Course. It’s not about the technique of the craft but focuses on how to keep elevating your career and life as an artist. But I’ll throw out a few pieces of advice here.

“Keep studying your craft, because your skill as an actor is the foundation of your career and it will carry you forward. In Milton Katselas’ Master Class, I’d sit beside the late Doris Roberts. She was in her 70s at the time with numerous Emmy Awards sitting on her shelf from her work as Ray’s mother in Everybody Loves Raymond. She told me she came to class every Saturday because she always went home with another tool for her acting tool chest. That’s a pro.

“Remember that what you do is vital to our culture–in fact, it is our culture. The world, in its present condition, needs you and your creations. Surround yourself with like-minded artists who have each other’s backs. Celebrate each other’s wins and help each other out. Collaborate and get your original ideas out there. Don’t wait for Hollywood to give you a ticket to the party. Print your own ticket. Hold your head high. You are an artist. You entertain, you heal, you inspire, you create the future.”

Besides The Toast, are there any other upcoming projects or roles that you’re particularly excited about?

“I’m excited about everything. The future is endlessly beautiful. And as the great actor/teacher/director Richard Lawson says, ‘It ain’t over until you say it’s over.’ He adds, ‘Dreams don’t have expiration dates.’

“I feel like I’ve just begun. I love acting. I’ve tried to walk away from it but I made a quick u-turn because I haven’t found anything ‘funner,’ as Suzanne Shepherd would say. My elementary teacher told my mother that I was a late bloomer. I’ve done good work that I’m proud of, but the party is just starting.”

How do you approach connecting with an audience, especially in a comedic setting compared to drama?

“Again, I don’t see a difference in the approach. I just do my work. It’s my job to be believable, no matter the genre. The character is still the character, living their life.”

As someone with a long career in the industry, how do you hope to impact the next generation of performers and storytellers?

“It’s my intention to help them see, by example, that persistence is a vital element to creating a thriving career. Yes, some have an early meteoric rise, but for the most part, it takes years of study, work, and putting one foot in front of the other. We are artists. There isn’t a destination, so much as a journey. And it sure beats a lot of other roads people travel.”

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“Ectropy” Premiere

Robin Karfo arrives at Los Angeles Premiere Of Sir Daniel Winn's "Ectropy: Chaos To Order" at The Culver Theater in Culver City, California.

Vents Magazine

Robin Karfo: A Journey from Off-Broadway to Hollywood

[as originally published on ventsmagazine.com]

In the vibrant world of acting, few have navigated the diverse landscapes of television, theatre, and film quite like Robin Karfo. With a career that spans nearly five decades, Karfo has shared the screen with Emmy- and Oscar-winning luminaries and graced the stages of both Off-Broadway and California’s renowned theaters. Currently, she’s poised to charm audiences in her latest project, The Toast, where she plays Hil, a wedding planner opposite the legendary Jon Lovitz. With a rich background shaped by rigorous training and collaborations with theater greats, Robin Karfo’s journey is a testament to passion, resilience, and creativity. Join us as we delve into her inspiring story, her insights on the craft, and her experiences behind the scenes of The Toast.

You’ve had a remarkable career spanning nearly 50 years. What initially drew you to acting, and how did your journey begin?

Well, fate definitely had her hand in all of that. I could so easily have missed the boat on being an actor if not for a teacher who took the time to help me. I was born and raised in Brooklyn, and in junior high school, after seeing me perform in a few of our plays, my English teacher, Mr. Biancoviso, told me about the School for Performing Arts in Manhattan, part of the NY public school system. Students majored in acting, dance or music. I had to audition, and it was my first, but I made the cut and was accepted. The rest is history.

You trained at the High School for the Performing Arts, the inspiration for the movie Fame. Can you share some pivotal moments from that experience?

All three years at that high school were pivotal. My home life was pretty rocky so my time at Performing Arts was life changing and life-saving. The school became my safe place. No one was going to try to squash the life out of me there. I could be all of me within those walls, no hiding anymore. And my classmates were talented, passionate, and some of the most heart-felt people I’ve met in my life. We were on fire and had a blast! But to share one moment, I remember performing in The Member of the Wedding where my character, twelve-year-old Frankie, stands up for herself and says, “Nobody’s gonna call me names and get by with it!” That was the first experience of my life and art overlapping, and it was powerful.     

You’ve collaborated with esteemed artists in your early Off-Broadway days. How did those experiences shape your approach to acting?

My first Off-Broadway experience had me directed by Tom O’Horgan (director of the original production of Hair on Broadway), in a production of the Tempest at La Mama Experimental Theatre Club. I had just returned to NY after a five-year hiatus in Boston fronting a rhythm and blues band and dancing in an improvisational dance troupe. So, when I started to tackle that first role after being away from the stage, I was afraid of “over acting” and consequently was not doing much on stage. Tom pulled me aside one rehearsal and said, “You know Robin, you can act—so just act!” It woke me up to the fact that it’s all pretend, so go for it. That production was funded by a grant from NYC, wherein 50 artists became a company to collaborate on productions at La Mama. It got my pistons firing after being away, and launched my NY theatrical career.

How has your transition from New York to California influenced your career and artistic expression?

In New York I was predominantly working in the theatre. I’m glad my roots are firmly embedded there because it builds strong chops to go out on stage night after night. Unlike in TV and film, there is no “Cut! Let’s take that again.” From curtain up to curtain down it’s a ride. You’re in it to win it. Very exhilarating. And there’s the magic of performing in front of a theatre of people who love the live aspect of it all. 

At one point I was performing two plays simultaneously. I’d start on the Upper East Side at the Manhattan Theatre Club with an 8pm curtain, and then jump in a cab to the Lower East Side to perform a crazy avantgarde piece at La Mama at 10pm. Those were wildly creative days. After eight years, looking for new challenges, I headed west.

TV, film and theatre are different animals. In the theatre, there’s the luxury of rehearsing for four weeks and then running the play for four or more weeks. You have time to deepen your character and the cast mellows into a fine smooth wine. TV and film are fast and furious for the most part. You’ve got to hit the ground running. I’ve guest starred on great series, and love that work. What I’m reaching for now is to play a regular role on a cutting edge project so I can duplicate the theatrical experience of being a member of a company that goes on a journey together. That’s my dream.  

You’ve worked with a diverse range of actors, including Viola Davis and Jon Lovitz. What have you learned from collaborating with such talented individuals?

Viola is a force to be reckoned with. Working opposite her on How to Get Away with Murder, was a master class. I felt the same working with Dennis Franz on NYPD Blue. I loved that series and was jazzed to perform a juicy role opposite him. My episode made it just under the wire, one of the very last episodes. It’s one of my most cherished TV experiences. Jon Lovitz hits it out of the park on the feature we recently wrapped, The Toast. He has a monologue that he crushes. I couldn’t take my eyes off of him.

Your solo piece Cages received a nomination for “Best Original Script” by the SF Bay Area Critics’ Circle. What inspired you to write this piece, and how did the process differ from acting?

The piece came out of a writing exercise I was given by Claire Blotter, my radically gifted instructor at the College of Marin. She brought in a collection of hats, threw them on the floor and told us to put one on and write from that character. I chose a fedora. A jazz sax player, Jack, emerged. He’s one wild and crazy guy—a combo of my father, Pacino, and me. I landed a grant to write and perform a solo show built around Jack, his wife, and his child. I played all three roles by interacting with life-sized video projections of the characters. It was the first time speaking my own “words” after decades of performing other writers’ text.  And let me tell you, that was something else.  

What is the most memorable role you’ve played throughout your career, and why does it stand out to you?

It was a role I prepared for a scene in my acting class. I was studying with the late, great Milton Katselas in Beverly Hills. I reworked a section from Terrence McNally’s Master Class, based on the revolutionary opera singer, Maria Callas. I did extensive research on her. I read every biography, listened to every recording, watched every video of her performing in the greatest opera houses on the planet. And I dipped myself in Maria’s universe. I related to her as a fellow NY Greek-American and as a singer, although I had never performed opera. In the play, Maria doesn’t sing. However, I had another idea and studied with an opera coach to learn an aria. In the green room, before taking the stage, I asked Maria to help guide me through. She did. Her presence was palpable and I found myself singing the aria in a way I never had in rehearsal. On the final note, the theatre of a hundred fellow actors rose to their feet. 

You’ve worked across various genres and formats, including television and film. How do you adapt your acting style for different mediums?

What I am aware of is communicating as the character in whatever environment the character is in and to whom they’re communicating. For instance, for TV and film, if I’m sitting across a table from the other character, it automatically effects the energy with which I propel my communication. Yes, we have to consider how tight the camera is on us, the framing, so as not to pop out of frame, but that’s just common sense and being aware. Unlike in the theatre when our focus is on being heard by someone in the last row, with the camera we have the luxury of being more intimate because our “audience” is just a few feet from us. But I disagree with the idea that we have to “tone down” our performance for the camera. You live the life of the character, are sensitive to the energy needed to land your communication, and are aware of the camera’s lens capturing you. Then you let it fly. 

Can you share any insights from your experiences studying under notable mentors like Suzanne Shepherd and Julie Bovasso?

Both of those women were strong artists wearing multiple hats. Julie was impactful not only by being a wonderful teacher but also a dynamic actor, playwright and director. It serves an actor well to study with teachers who are also directors. They can teach you how to direct yourself, which is often needed, especially in TV because of the speed of production. TV directors don’t have time to get into the minutia of your character and your motivations. We need to know how to break things down for ourselves. Suzanne’s teaching was drawn from Sanford Meisner, which helped me to focus on using my imagination. And again, Suzanne was an accomplished teacher, actor and director. As a young actor, being mentored by these powerful women set something in motion within me that has carried me far. 

In The Toast, you play a wedding planner. What do you find intriguing about the role, and how do you connect with the character?

I immediately connected with the character when I was prepping for my audition. I knew exactly who she was. Coming from a family of strong Brooklyn-Greek aunts and grandmothers has instilled a relentlessly focused force in me. Hil, as the wedding planner, has to keep all the moving parts well-oiled and pushing forward. I had a blast with her. I also love that the film is a comedy, because a lot of the TV roles I’ve done had me playing professional women, lawyers, judges, doctors, etc. I’ve done a lot of comedy in the theatre and had been missing it, so letting my wacky self rip was a treat.

What advice would you give to aspiring actors and writers who look up to your journey and want to make their mark in the industry?

I’m at a place in my career where I feel it’s my responsibility to share what I’ve learned on this long and winding road. I’ve created an online course to help actors navigate the terrain of an acting career, The Thriving Artist Course. It’s not about the technique of the craft, but rather focuses on how to keep elevating your career and life as an artist. But I’ll throw out a few pieces of advice. 

Keep studying your craft, because your skill as an actor is the bottom line and it will carry you forward. In Milton Katselas’ Master Class, I’d sit beside the late Doris Roberts. She was in her seventies at the time with numerous Emmy awards from her work as Ray’s mother in Everybody Loves Raymond. She told me she came to class every Saturday because she always went home with another tool for her acting tool chest. That’s a pro.

Remember that what you do is vital to the culture, it IS the culture. The world, in its present condition, needs you and your creations. Surround yourself with like-minded artists who have each other’s back, who celebrate each other’s wins and help one another. Collaborate, get your original ideas out there. Don’t wait for Hollywood to give you a ticket to the party. Print your own ticket. Hold your head high. You are an artist. You entertain, you heal, you inspire—and you create the future. 

For more information on Robin, please visit: robinkarfo.com.