Richard Donnelly is one of Rhode Island›s most esteemed actors, having appeared in such films as “Don’t Look Up,” “Manchester by the Sea” and “American Hustle.” His theater credits are too numerous to name; however, he›s appeared in Wilbury Theatre Group›s productions of The Caretaker and Waiting for Godot. Also, he is no stranger to the audiences of Trinity Rep and the Gamm Theater.

This month, Donnelly plays André, the title role in “The Father: A Tragic Farce” by Florian Zeller, translated by Christopher Hampton and directed by Josh Short. “The Father” is currently running at The Wilbury Theatre Group from Jan. 23 thru Feb. 9. 

This interview was a special one for me, as Richard and I appeared several times together in “Shear Madness” in Boston. We talked about his leading role as André and the way child/parent relationships become inverted when we lose ourselves to old age.

 Ida: What do you find most challenging about portraying André, especially considering his cognitive decline?

Richard: I am 78 years old, and I am at a certain age, and even if I forget things normally, when I delve into something like this, I become cognizant of the possibility of dementia happening to me. I tend to bring theater home with me, to immerse myself in the character. The result is that this condition is something that is on my mind all time.

Ida: How does André’s relationship with his daughter, Anne, evolve throughout the play, and how do you approach playing those shifts in emotion?

Richard: André fantasizes about his deceased daughter; one he recalls as perfect. With his only living daughter, Ann, he often finds fault with her imperfections and his contention and confusion that he projects onto Ann is coming from his own perception, not from Ann’s behavior. It is an exceedingly difficult struggle - for both of them.

Ida: André often expresses frustration and disbelief about his condition. How do you channel those emotions in your performance?

Richard: Throughout the play, André is angry and confused. I have to find that in myself. At times, those emotions may not be a place I want to go. However, director Josh Short is so good at what he does. Josh is always questioning how we might “play” with Andre’s emotions and why. We may enact a scenario one way and then play it over again differently. Josh and I collaborate on ideas regarding how André reacts to all situations and in rehearsal it is not always the same. As we move through the process of finding the character of Andre, we are exploring the optimal emotion for each scene.

Ida: In your interpretation of André, do you focus more on his moments of clarity or his confusion?

Richard: It is easier to focus on clarity. But with Andre, his moments of clarity may not necessarily be reality. That is why it can be challenging. It is more effective to focus on Andre’s clarity in portraying the authenticity of the character. It is his perception that is his reality.

Ida: The play explores themes of aging and dementia. How does it feel to play a character going through such a profound life experience?

Richard: I am a volunteer in a hospice care center. Especially on a day when I have completed my shift and then go to rehearsal, I have a strong inclination to go to a playground and mingle with children. It is not healthy to wallow in the emotional challenges of this play. But the reality is that I am not a young man anymore and nearer the end than the beginning of my life. There is a nagging consideration as I undertake this role to set my life priorities. This becomes more salient as I become older.

Ida: In The Father, André’s perception of the world often contrasts with the reality of those around him. How do you convey this divide to the audience?

Richard: You just have to show the audience that André is either confused and covering it up or he is convinced that everyone else is confused. Staying true to this character is key. With Josh’s vision of Andre, which is brilliant, clear and locked into the script, my job is to trust that. I believe with a great book and an equally talented director, my part as an actor is to persevere and emerge as Andre. 

Ida: How do you work with the rest of the cast, especially the actor playing Anne, to create the emotional depth of the family dynamics?

Richard: The cast is not only a gathering of seasoned professionals, and they are tremendously generous on stage. Every family has their contentious dynamic and we had to find that. Anne’s character is the caretaker. She bears the burden of Andre’s vitriol. It is an actual relationship that portrays unconditional love without false sentimentality.

Ida: What research did you do to prepare for the role of André? Were there any specific sources or experiences that helped you?

Richard: As I have mentioned before, I am a volunteer in hospice on a regular basis. I have had two particularly good friends who suffered this decline of “disappearing.” I have had lengthy conversations with a knowledgeable  nurse at the hospice center. And though I have done a good amount of reading on the subject, my most informative sources have been my own real-life experiences.

Ida: Can you talk about your collaboration with director, Josh Short, in bringing André’s experience to life on stage?

Richard: I can’t say enough about Josh. He is a great director. Not only does he have a vision, but he is also a true collaborator. Josh is consistently upbeat and comes into the rehearsal with pages of what he has learned and knows about Alzheimer’s disease. He is prepared and focused every moment of our time together. It is a pleasure and a valuable learning experience working with Josh.

Ida: How do you maintain the consistency of your performance, given the play’s structure and its intentional disorientation of time and place?

Richard: Well, you know this as an actor yourself, it is about preparation and living through that preparation. I am more anxious in the moments just before I am ready to go on stage. But once I am there, it all comes together. Every actor knows the three key elements to a successful performance: preparation, preparation, preparation. 

Ida: What do you hope audiences take away from your portrayal of André?

Richard: A better understanding of the phases of Alzheimer’s. This play leads the audience through the process of Andre’s mental disappearance. Josh’s vision was to start André strong, and as the play progresses Andre’s world slowly closes in on him. I hope the audience becomes more aware of this process.

Ida: Is there a particular moment in the play that you find especially moving or difficult to perform?

Richard: For me, the very end of the play is exceptionally difficult to perform. It is the total devastation of a human being. It is disturbing. For that to be convincing, I have to let that happen to myself. It isn’t something you act. It is something you actually must become.

Ida: What personal insights or connections have you made to André’s character through your performance?

Richard: I am looking at André in a sort of looking glass. There used to be a time in my career as an actor when I could learn a script in a short amount of time. Now, as I’ve grown older, I am no longer able to accomplish that with speed. I have begun to seriously think about my priorities and what is important to me in my life - family especially. What would happen if I found myself with dementia or some other debilitating disease? I am more aware of living life to the fullest, now, when I can.