In the constantly changing world of theater, where new ideas and styles emerge all the time, a few actors manage to really stand out, not just for their talent but for how deeply they connect with the audience. Hraban Luyat is one of those actors. Originally from Europe and now making his mark in New York City, Luyat has a knack for transforming himself on stage, whether he’s tackling the grandeur of Shakespeare or diving into the rawness of experimental theater.
With classical training from the Stella Adler Studio of Acting and a string of roles that push his boundaries, Luyat’s dedication goes beyond just performing—it’s about exploring what it means to be human. In our conversation, Luyat shares insights into the cultural influences that shaped him, the challenges and rewards of physical theater, and how he brings diverse characters to life.
Can you tell us about your early life and what initially drew you to the world of acting? Was there a defining moment or influence that set you on this path?
Hraban Luyat: I was born to an eccentric family: smack dab in the middle of the so-called Provo movement, in the Amsterdam of the 80s. My father was Kornelis “Kees” Hoekert: figurehead of a movement which rode (or caused? It was symbiotic) a cultural shift in Holland. My mother, Liva Luyat, a headstrong French immigrant with strong tastes in everything cultural. She took me to see Hamlet (twice), and helped me memorize To Be or Not To Be when I was 7. By sounds, because I didn’t speak English at the time. She signed me up for acting classes early, and shuttled me to castings and commercials from a very young age.
I’ve been acting for as long as I can remember, but it took moving to the UK to truly get the ball rolling. It turns out Shakespeare is quite popular there (go figure), and they have a thing or two to teach on the matter. If you’re serious about learning Shakespeare, you absolutely have to spend time in London. Every teacher I’ve had there has been nothing short of excellent.
Growing up in Europe and eventually moving to New York City, how have these different cultural experiences shaped your perspective as an actor?
H.L. Every country and culture has certain rules that are implied, that people take for granted. The second you point one out people fall over themselves to tell you you’re wrong or a xenophobe. I’m sure every superficial difference has been thoroughly debunked by now, but there’s one that I keep coming back to: how it is perceived to take a risk. It’s too facile to call Europe more “risk averse” than the USA, and who am I to say? So I’ll just say this: there’s an expression both in the UK and in the USA, which is basically the same thing, but with different words. And that choice of words is telling: in America, we say “The squeaky wheel gets the grease.” In Europe? “The tallest blade of grass gets cut.”
Your training at the Stella Adler Studio of Acting is renowned for its rigorous approach. How did this education influence your development as an actor, and are there specific lessons or experiences that have stayed with you?
H.L. The curriculum is world-class, but two of the courses we had stood out above all else: Shakespeare, and Voice & Speech. I had already been acting for quite a while before starting with them, but going through that process truly cemented and crystallized the importance of regular and consistent practice in the field of classical acting. An important quote they loved to repeat: “the work is the work.” Meaning: if you do your work, every day, consistently, that’s it. The rest will fall into place automatically. They were right! Consistency is key.
You’ve portrayed a wide range of characters, from Jake in The Break-Up Autopsy to King Charles VI in Henry V. How do you adapt your acting techniques to suit such diverse roles, and what do you find most rewarding about these transformations?
H.L. It’s funny you mentioned those two roles because their directors couldn’t be more different, and yet I learned so much from both of them. Lawrence Carmichael [The Break-Up Autopsy] was this extremely passionate, fiery, explosive man who never said a word he didn’t believe fully, 100%. That intensity, that level of care and passion, translates incredibly well to the stage. I would even say it’s necessary: if you don’t care, why should the audience?
Then you have Patrick Siler [Henry V] and he is composed, calm, and considerate. He sees everything, contemplates, and when he speaks you see there is a world of thought behind everything he says. He knows the meaning behind every word of every line of every character in every play he’s ever been in. That level of knowledge of the work gives it a unique confidence and freedom; if you don’t know, nobody does. Again: a necessary ingredient to good acting. The character you portray knows everything about themselves, and so should you.
Every show I’ve ever done has changed me in some way, because I’ve learned something from the people in it. You meet these extremely talented, assiduous, driven people, and if you’re lucky a bit of it rubs off. Hopefully.
Physical theater is a significant part of your work. How did you become interested in this form of expression, and how does it enhance your connection with the audience?
H.L. In London I worked with this incredible practitioner; Anna-Helena McLean, from the Moon Fool company. She was a company member at Gardzienice, the legendary Polish institute with heavy Grotowski influences. To this day, of all the people I’ve worked with, she is the most talented in her field. Watching her work is like seeing magic. She can practically see music, her voice carries across a city, when she moves across the stage there’s more intention than a marching army. I immediately knew when I saw her: this is true expression, I need more of this. She ended up casting me as Caliban in this wild and intense experimental rendition of The Tempest, and it was a life changing experience. The power of Grotowski is undeniable; putting the body and the voice front and center, getting out of your head and using the text as a canvas on which you paint, rather than a neatly packaged final product. It’s gripping and visceral and actually leans into something incredibly special about theater: the fact that we’re in the same room as another human being, watching them expose themselves emotionally. Conventional theater sometimes tries too hard to pretend not to be theater, to be realistic, as if that’s why people go to the theater. As another great influence of mine, Rebecca Frank, always says: “If I want to see realism, I’ll go to Starbucks.”
In your career, what have been some of the biggest challenges you’ve faced, both on and off the stage, and how have you overcome them?
H.L. Leaving behind the place you grew up in and your entire social circle with it, isn’t easy. Doubly so when you have to rebuild all of that in a foreign country. I lived in many different places in my life, but this was particularly poignant when I lived in the UK, where I never quite fit in and always felt like an outsider. Of course this is old news to many people, but that doesn’t make it less true.
There is one country that has been the exception to that rule, though.
And that is?
H.L. America.
You think so?
H.L. Absolutely. The entire culture here is one of appreciation of differences, and seeing people for what they bring to the table, rather than where they come from. It feels very meritocratic and encouraging, compared to the more reserved and aristocratic European tendencies I’m used to.
Really? I’m sorry but I’m surprised because I often hear people say the exact opposite.
H.L. I get that all the time, and it gives me the idea that Americans think of themselves as xenophobic and anti-immigration, but–I can’t speak for anyone else of course–my own actual personal experience is that this is one of the most welcoming and encouraging countries I’ve ever been to.
Well that’s certainly good to hear! And outside of theater; what other passions or hobbies do you have? How do these interests complement or influence your work as an actor?
H.L. It’s all very basic, to be honest. I’ve taken to doing calisthenics in the jungle gym in Tompkins Square park, half for the exercise, half for the opportunity to talk to the motley crew of fascinating individuals who hang out there. I hang out with friends and we try to find the worst bar in the city. To be honest being an actor in this city is enough excitement, I am not particularly hungry for more, when I have the opportunity to take a break.
As you look to the future, are there any dream roles or specific types of projects that you aspire to? What are you most excited about in your upcoming endeavors?
H.L. I have a couple of really exciting Shakespeare productions coming up that I can’t just talk about yet but I can’t wait to cut my teeth on them. I’m also working together with Elena Lozonschi on producing a new translation of Ionescu’s Rhinoceros. This is an incredible opportunity to do it: the current social climate is absolutely perfect for this play, and because I’m a native French speaker I can actually work with the original text. It’s early days, but watch this space.
Lastly, for aspiring actors who look up to you, what advice would you give about pursuing a career in acting, especially in such a competitive industry?
H.L. Find out what your weakest quality is and work on that. This will give you by far the biggest boost across the board. It will be different for everyone: whether it’s networking, self promotion, keeping tabs on developments in the industry, reading new plays and watching new films, whatever it is you’re the worst at: focus on that. It’s demoralizing, it’s not fun, I would even say if it’s fun it’s not your true weak spot. But you are a ship navigating uncertain waters, and you need the entire vessel to reach the other shore. Not just the hull, not just the sail. So keep building, let the wind do the work, and before you know you’ll discover new lands.
