Before you undertake the study of mime, you should be warned—there is very little market for it in America today. People always want me to teach it, because it’s good for actors to be able to move well, but if you want to be a mime, you should consider it very seriously before entering it as a profession. I’ll give you a few examples of what to expect: When I auditioned for the Ed Sullivan Show, the man in charge said, “It’s too … too… quiet." I said, “Yes. It’s mime." They said no. When I auditioned for the Joey Bishop Show, they had told me that they didn’t want any mime on their show, so I said I was a comedian. I did my mime act, and when I finished, the producer said, with a look of distaste on his face, “That’s … mime." I said, “Yes." They didn’t hire me. Steve Allen’s producer let me do theatre games on the show with Geoff Edwards and Stefanianna, but wouldn’t let me do mime. At U.C.L.A. I was told that they don’t want any mime shows, don’t want to see any, and wouldn’t consider hiring a mime—they are only having Marceau this year because another artist canceled. Mime won’t make them any money. You can expect this kind of rejection as part of the natural course of being a mime, so most mimes give it up. Alvin Epstein is a fine actor today, but doesn’t do mime. Rusdi Lane has been working with The Committee, and doesn’t do mime. Hamilton Camp is a comic actor and a singer today, and does no mime. So think twice, and then think again before you pick this profession which is unknown and unmissed in America. The work itself is rewarding and gratifying, but it’s hard to find places to work. So if you become a mime, you may end up being a mime teacher, which is a different thing, or you may end up using it as part of something else. As for me, I wouldn’t give it up, but I always was a Don Quixote.
Julien's Art Works 