IN CONVERSATION WITH JAMES CUSATI-MOYER

interview by JANA LETONJA

Actor James Cusati-Moyer was seen this summer reprising his role in Jeremy O. Harris’ critically acclaimed Broadway play ‘Slave Play’ on the West End, for which he was nominated for a Tony Award. Previously, James was seen in the New Line/DC film ‘Black Adam’ and in Shondaland/Netflix limited series ‘Inventing Anna’. Next up, we’ll be seeing him in an independent feature ‘Untitled Tick Movie’ directed by Pete Ohs and co-starring Zoë Chao, Callie Hernandez, and Jeremy O. Harris - as well as an Italian independent feature ‘Sacred Creatures’.

jacket SIMONE ROCHA

James, you’re currently reprising your role in Broadway play ‘Slave Play’, for which you were nominated for a Tony Award. Can you share what drew you to the role of Dustin and how you prepared for it?

Jeremy wrote the role for me. I learned the lines and decided to toss out everything I thought I knew about acting. The role is extremely physical and dynamic, which is a perfect playground to me for entering with beginner’s mind and spontaneity. Instinct over intelligence, impulse over rigidity. Keep the channel open as much as possible, a tightrope - equal chances of both failure and flight. 

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jewellery HATTON LABS

You’ve had a diverse range of roles, from Broadway to independent films and TV series. How do you approach preparing for each of these different mediums?

The preparation is all the same really. The execution however is a tailored recipe that typically you can only discover until you’re in rehearsal, in performance, in front of the camera, and listening to your other creatives and audience around you. If you plan ahead too much, you’re doomed. If you think you know how to do it before the act of it, you’re failing already. The goal is the truth. And the truth sounds different in every space, medium, genre, etc. that it rests in. You have a duty to make sure you find the right frequency, like a handheld radio tuning to its station.

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What is the most impactful role you’ve portrayed so far, and why did it make such an impact on you?

I’ll tell you a story. When I was in college, to make ends meet, I worked as a supernumerary in many operas at the Metropolitan Opera in New York. For those who don’t know, those are the actors on stage that don’t speak or sing, but are a part of the stage action of the opera. In the opera ‘Anna Bolena’ by Donizetti, I played a page boy of the court. The overture played, the curtain rose, and I was the first one seen onstage walking downstage left making direct eye contact with the audience of 3.850 people. I was directed to hold within a secret of the court and to let the audience know I had that secret. The French would call that “la petite mort”. Absolute euphoria. 

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How do you select roles that align with your growth as an actor?

I wish I could paint you some grand design of the selection process. The truth is, I go where I’m employed. It was taught to me at a very young age that you should act as much as you can, wherever you can. Every job is an opportunity to practice, the good and the bad. I deeply love my profession and craft, and always hope to find roles that challenge me, but some days, you just got to deliver the pizza and make a living. Because damn it, it feels good to get paid to do what you love to do and be able to pay your bills. I am very lucky and grateful I’ve been able to do that recently, because there was a long period in my life when I couldn’t. I was raised by hardworking people who needed to put dinner on the table. That spirit never leaves me.

coat MIU MIU

How did your MFA from Yale School of Drama shape your acting style and career trajectory?

I don’t really like the term “acting style”. I don’t think it exists. People are born with certain characteristics and qualities, habits and ticks, innate gestural language or an aura about them, a history that’s shaped them. You either utilize that to the best of your ability to help your work, or you fall victim to its trap, making your work less effective. Yale didn’t shape. Rather, it refined what I already had within me, or helped me discover what I didn’t know was possible that was hiding within me. An exorcism of all the parts of me that were holding me back, and a compassionate nurturing of all the parts of me that would be of great use. Yale made me ready to work, gave me the tools to go forth, equipped me to be in charge of myself and have agency over my craft in whatever room I walk into, and to always remain curious, continuing to want to learn as you work professionally. 

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full look EMPORIO ARMANI
middle
knit CRAIG GREEN
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Are there any particular roles or types of projects you’re interested in exploring in the future?         

I’m dying to play a real-life person from history. I’d love that homework assignment. A real character study sounds like heaven to me, someone very different from me. It feels good to put on a mask.

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Next up, we’ll be seeing you in the independent film ‘Untitled Tick Movie’. What can you share with us about this film?

We shot this film with one camera over two weeks, developed the script together as an ensemble with the director as we went along. It’s about ticks, the insect, women, and gays. A place without fear. Somewhere we all yearn to be. 

coat and shoes EMPORIO ARMANI
trousers FLORIAN WOWRETZKO

TEAM CREDITS:
talent JAMES CUSATI-MOYER
photography JACK CHIPPER
styling IGNACIO DE TIEDRA
hair & makeup CHARLEY MCEWEN AT THE ONLY AGENCY
photography assistant BARNEY ARTHUR
styling assistant RAHEL EYONG
movement LIAM HILL
editor TIMI LETONJA
editorial director & interview JANA LETONJA