A Conversation with Playwright/Actor Nick James, "Unsavory Fellow" at The Ruskin Group Theatre, by James Scarborough

Nick James' "Unsavory Fellow" refracts ambition and delusion through the lens of dark comedy. This one-man show dissects the life of a man chasing grandiose dreams in Hollywood, a narrative as captivating as it is cautionary. With aspirations of supermodeling, gigolo ventures, and acting, James’ story unmasks the inherent absurdity and relentless drive within the entertainment industry.

The performance thrives on its dual nature. It blends humor with stark reality to highlight the fragility of human aspirations. James' character, marked by his insatiable hunger for success, navigates through personal failings and the capricious nature of Hollywood. The production's dark comedic elements entertain but they also critique societal expectations and the often ludicrous pursuit of fame.

James' diverse background—ranging from his early YouTube fame to his varied careers—enriches his storytelling with relatable experiences. This fearless approach makes "Unsavory Fellow" an uncompromisingly visceral production. The Ruskin Group Theatre's support and the show's sold-out performances confirms its resonance with audiences.

"Unsavory Fellow" acknowledges perseverance and authenticity amidst the folly of grand ambitions. It skirts between dreaming big and remaining grounded. James' performance urges us to find beauty in the pursuit, regardless of the outcome.

JS: Your character aspires to many grand ambitions but often falls short. Elaborate on the inspiration behind creating such a multi-faceted yet flawed protagonist.

NJ: Truthfully, it’s me. I had to take a deep and honest look at myself, and how I saw the world and where I was going to be in the world, and how I was going to get there. Growing up, I was always looking for some softer, easier way in finding my place in Hollywood, getting to the front of the line. My aunt told me the story of Lana Turner being discovered in a drugstore, and I could never shake that. People always told me that I was a handsome kid and that I should be in the movies. Adults, society, filled my head with things that weren’t true. For me, I wanted to get there but I just didn’t know how.

JS: How did your experiences as a valet parker, boxcar hobo, bartender, break dancer, and supermodel shape the narrative and emotional depth of "Unsavory Fellow"?

NJ: I got kicked out of school at Santa Monica High, kicked out of school at Olympic Continuation, so I went to West Virginia and lived with my grandfather in a coal mining camp, and then kicked out again within a few weeks. I never wanted to go to school, I wanted adventures. So, I’d hop the trains & drink beer & imagine that I was Lee Marvin and try to live out the characters that I’d see in the movies. My life was a movie fantasy. I liked to perform so I became the only white break dancer where I was. Supermodel? I got a contract to model in Japan, but I got in a bar room brawl the night before I left and had my ass kicked. I arrived in Japan with two black eyes and a broken nose. Obviously, I was fired and then wandered the streets of Japan before I could get back home. This is the way of the drinker, and the way my life was going with drugs and alcohol.

JS: Dark comedy plays a significant role in the production. How did you balance humor with the show’s stark realities?

NJ: The humor, to me, are the realities. When I look back in self-reflection it’s funny to me, when I think about how I saw the world back then, and I thought I could be successful without having to actually do the work. I had many friends that didn’t make it, I am so lucky to be alive. By the age of 14, I was running the streets having a blast, looking for adventure. The humor, is that I can look back now and I can laugh at how crazy these experiences were. And that’s, of course, only because I did survive.

JS: The show offers a critique of the entertainment industry. What personal experiences influenced your depiction of this often-ruthless environment?

NJ: Well, you know, I was always cutting corners, I wasn’t the kind of guy that did what I was told. People were always trying to influence me in the movie business. There was this guy, who was the president at Universal at the time. He rented an apartment in my building and he really wanted to help me but I wanted to do it my way. When you’re trying to cut corners and skip the line you fall into the trap of sharks. It’s like I fell into the moat of alligators and snakes that circle Hollywood, looking to take advantage of young, starry-eyed kids like me that were willing to do anything, well anything but actually doing the work it took, to become a star. Really, kids willing to do almost anything … other that studying acting, which I didn’t do until I was in my early 20’s. By that time, I was a drunken bum, and there was no way that I could build a career. To me, I always fell in with people who said that they were Hollywood producers but who really weren’t, or casting but they really wanted something else. If I would have listened to Casey, the guy at Universal, and done what he had said, studied acting, I think that I would have been successful at that time. But, had I been successful at that early age, I wouldn’t have survived it because I had an unsatiable drug & alcohol habit - already formed. If I’d gotten what I thought I’d deserved … wanted, it would have killed me. I didn’t have the tools. So, I think shit works out like it’s supposed to, eventually. I feel lucky that I survived!

JS: How did you approach the development of your character’s arc, particularly his perseverance despite repeated failures?

NJ: I think when I became an adult and I finally sobered up, at the age of 27 (I’ve been sober for 33 years), I was able to better understand. One of the greatest things about growing up is surviving what I did. It allows me self-reflection. I was always interested in the result, thinking that what was going to satisfy me was being famous and being loved. As an adult I found out, that’s not it, it’s that old cliché that it’s about the journey. I only learned that when I became a writer. To me, creating this show and the character arc, it’s not about the results, it’s about the doing and that’s where the satisfaction comes from, when I’m in the process of creating the show. The happiness and satisfaction comes when I’m creating the characters and the story. I even built the set in my mom’s back yard. And that’s the fun of it. It’s in the doing. You have to be completely out of the results. If you’re going to be an actor, or film writer, you have to get that it’s really about the doing, not about the future. To me, the future doesn’t exist. If I’m living in the future or the results, it doesn’t last. It’s the process of the now. I don’t even have as much fun acting as I do when I’m building the story and building the show. That’s where I got the character arc from, my own life.

JS: The production touches on themes of truth-to-self and perseverance. How do these themes resonate with your personal journey as an artist?

NJ: In every way, being truthful, being in the moment.

JS: Considering the show’s previous success and sold-out run at the Santa Monica Playhouse, what feedback from the audience has been most impactful to you?

NJ: When, after a performance, people tell me that they can relate. I had an audience member that I knew from junior high. She was way out of my league at that time and very popular, so I never knew her well. She thanked me after seeing the show and told me that she thought she had been the only one who had the same sort of doubts when she was young. I asked how she could feel that way, being the most beautiful girl in the school, but she said it didn’t matter, it was just how she felt inside. I think we can all relate with that. At the end of the day, we just all want to feel loved and accepted. At the end of the day, you’ve really just gotta be happy with yourself. I’m just glad if I can help people laugh and cry during the show. If I can do that, I’ve done my job.

JS: Discuss the collaboration process with the Ruskin Group Theatre. How did it influence the show?

NJ: The Ruskin was a huge influence on the show because I was in a two-year program at their acting school. At the end, you do these monologues and I’d always been encouraged to tell my stories, so in that acting class where I met my producers, Beck Bennion and Jess Faulstich, I did a monologue which became “Unsavory Fellow.” It was about 15 minutes. You’re basically using all the tools that you learned from the program and you are putting them to work in this one piece, doing whatever you want. It went over well so John Ruskin and Mikey Myers were so supportive about me developing it. They told me if I could really write this, they would produce it. So, I went away for 2 years and I started writing this thing but I never forgot about Beck and Jess. I passed it along to Beck and she gave it to Jess and we did it at Santa Monica Playhouse where it sold out, and then we circled back around to the Ruskin Group Theatre with John and Mikey’s support, and where I had originally met everybody when I was in class there. It's just been an incredible ride. I could not have done it without Beck, Jess, John and Mikey. Absolutely not.

JS: Given the success and personal nature of "Unsavory Fellow," what future projects are you contemplating that will continue to explore similar themes or new creative avenues?

NJ: Yes, a new project called “Valet.” It’s a true story about my time as a valet during my youth, working in the parking lot at Gladstones on the beach in Malibu. I’m writing that now. They were just wild times, and it revolves around parking Ferrari’s, Lamborghini’s and working with a group of Brazilians. Wild times!

JS: What advice would you offer to aspiring performers and writers who, like your character, chase seemingly impossible dreams?

NJ: If you’re enjoying it, finding the passion in whatever it is you are doing, you’ve really got to stay out of the results because that’s fleeting. If you make a movie, once it screens it’s over. But, the months, years it takes to make it, that’s really where the fun is so don’t worry about what anybody thinks. I spend my whole youth trying to get people’s approval, acting or writing what I thought they would like and trying to guess what the casting director wanted. I don’t even think that they know what they want! So, do what you do in a way that makes you happy. Do what you do and don’t worry about what others want. If you bring the best you, that’s an original and nobody else can do that. If you don’t love it, don’t do it!

TAKEAWAYS

Nick James' character in "Unsavory Fellow" is deeply autobiographical. He drew heavily from his own life, examining his journey and the misconceptions he had about achieving success in Hollywood. His story reflects the influence of family anecdotes and societal expectations on his ambitions.

James' varied and tumultuous experiences—ranging from being a hobo to a supermodel—infused the show with rich, lived details and emotional depth. His adventures and misadventures, often driven by his quest for excitement over formal education, provided a fertile ground for creating a complex, multifaceted protagonist.

The play intertwines dark comedy with stark realities. James finds humor in his past missteps and the absurdity of his youthful dreams, which he now views through a lens of survival and self-reflection. This balance allows the audience to engage with both the comedic and serious aspects of his story, highlighting the resilience required to navigate the entertainment industry's challenges.

“Unsavory Fellow” continues at 8pm Friday; 4pm and 8pm on Saturday through May 25, 2024. Check the website for additional shows. Ruskin Group Theatre is located at 3000 Airport Avenue, Santa Monica, CA 90405. Tickets are $30 ($5 off seniors/students/guild, and groups of 6 or more). For more information, click here.

Photo courtesy of Ian Zandi