Vents Magazine

Robin Karfo: A Journey from Off-Broadway to Hollywood

[as originally published on ventsmagazine.com]

In the vibrant world of acting, few have navigated the diverse landscapes of television, theatre, and film quite like Robin Karfo. With a career that spans nearly five decades, Karfo has shared the screen with Emmy- and Oscar-winning luminaries and graced the stages of both Off-Broadway and California’s renowned theaters. Currently, she’s poised to charm audiences in her latest project, The Toast, where she plays Hil, a wedding planner opposite the legendary Jon Lovitz. With a rich background shaped by rigorous training and collaborations with theater greats, Robin Karfo’s journey is a testament to passion, resilience, and creativity. Join us as we delve into her inspiring story, her insights on the craft, and her experiences behind the scenes of The Toast.

You’ve had a remarkable career spanning nearly 50 years. What initially drew you to acting, and how did your journey begin?

Well, fate definitely had her hand in all of that. I could so easily have missed the boat on being an actor if not for a teacher who took the time to help me. I was born and raised in Brooklyn, and in junior high school, after seeing me perform in a few of our plays, my English teacher, Mr. Biancoviso, told me about the School for Performing Arts in Manhattan, part of the NY public school system. Students majored in acting, dance or music. I had to audition, and it was my first, but I made the cut and was accepted. The rest is history.

You trained at the High School for the Performing Arts, the inspiration for the movie Fame. Can you share some pivotal moments from that experience?

All three years at that high school were pivotal. My home life was pretty rocky so my time at Performing Arts was life changing and life-saving. The school became my safe place. No one was going to try to squash the life out of me there. I could be all of me within those walls, no hiding anymore. And my classmates were talented, passionate, and some of the most heart-felt people I’ve met in my life. We were on fire and had a blast! But to share one moment, I remember performing in The Member of the Wedding where my character, twelve-year-old Frankie, stands up for herself and says, “Nobody’s gonna call me names and get by with it!” That was the first experience of my life and art overlapping, and it was powerful.     

You’ve collaborated with esteemed artists in your early Off-Broadway days. How did those experiences shape your approach to acting?

My first Off-Broadway experience had me directed by Tom O’Horgan (director of the original production of Hair on Broadway), in a production of the Tempest at La Mama Experimental Theatre Club. I had just returned to NY after a five-year hiatus in Boston fronting a rhythm and blues band and dancing in an improvisational dance troupe. So, when I started to tackle that first role after being away from the stage, I was afraid of “over acting” and consequently was not doing much on stage. Tom pulled me aside one rehearsal and said, “You know Robin, you can act—so just act!” It woke me up to the fact that it’s all pretend, so go for it. That production was funded by a grant from NYC, wherein 50 artists became a company to collaborate on productions at La Mama. It got my pistons firing after being away, and launched my NY theatrical career.

How has your transition from New York to California influenced your career and artistic expression?

In New York I was predominantly working in the theatre. I’m glad my roots are firmly embedded there because it builds strong chops to go out on stage night after night. Unlike in TV and film, there is no “Cut! Let’s take that again.” From curtain up to curtain down it’s a ride. You’re in it to win it. Very exhilarating. And there’s the magic of performing in front of a theatre of people who love the live aspect of it all. 

At one point I was performing two plays simultaneously. I’d start on the Upper East Side at the Manhattan Theatre Club with an 8pm curtain, and then jump in a cab to the Lower East Side to perform a crazy avantgarde piece at La Mama at 10pm. Those were wildly creative days. After eight years, looking for new challenges, I headed west.

TV, film and theatre are different animals. In the theatre, there’s the luxury of rehearsing for four weeks and then running the play for four or more weeks. You have time to deepen your character and the cast mellows into a fine smooth wine. TV and film are fast and furious for the most part. You’ve got to hit the ground running. I’ve guest starred on great series, and love that work. What I’m reaching for now is to play a regular role on a cutting edge project so I can duplicate the theatrical experience of being a member of a company that goes on a journey together. That’s my dream.  

You’ve worked with a diverse range of actors, including Viola Davis and Jon Lovitz. What have you learned from collaborating with such talented individuals?

Viola is a force to be reckoned with. Working opposite her on How to Get Away with Murder, was a master class. I felt the same working with Dennis Franz on NYPD Blue. I loved that series and was jazzed to perform a juicy role opposite him. My episode made it just under the wire, one of the very last episodes. It’s one of my most cherished TV experiences. Jon Lovitz hits it out of the park on the feature we recently wrapped, The Toast. He has a monologue that he crushes. I couldn’t take my eyes off of him.

Your solo piece Cages received a nomination for “Best Original Script” by the SF Bay Area Critics’ Circle. What inspired you to write this piece, and how did the process differ from acting?

The piece came out of a writing exercise I was given by Claire Blotter, my radically gifted instructor at the College of Marin. She brought in a collection of hats, threw them on the floor and told us to put one on and write from that character. I chose a fedora. A jazz sax player, Jack, emerged. He’s one wild and crazy guy—a combo of my father, Pacino, and me. I landed a grant to write and perform a solo show built around Jack, his wife, and his child. I played all three roles by interacting with life-sized video projections of the characters. It was the first time speaking my own “words” after decades of performing other writers’ text.  And let me tell you, that was something else.  

What is the most memorable role you’ve played throughout your career, and why does it stand out to you?

It was a role I prepared for a scene in my acting class. I was studying with the late, great Milton Katselas in Beverly Hills. I reworked a section from Terrence McNally’s Master Class, based on the revolutionary opera singer, Maria Callas. I did extensive research on her. I read every biography, listened to every recording, watched every video of her performing in the greatest opera houses on the planet. And I dipped myself in Maria’s universe. I related to her as a fellow NY Greek-American and as a singer, although I had never performed opera. In the play, Maria doesn’t sing. However, I had another idea and studied with an opera coach to learn an aria. In the green room, before taking the stage, I asked Maria to help guide me through. She did. Her presence was palpable and I found myself singing the aria in a way I never had in rehearsal. On the final note, the theatre of a hundred fellow actors rose to their feet. 

You’ve worked across various genres and formats, including television and film. How do you adapt your acting style for different mediums?

What I am aware of is communicating as the character in whatever environment the character is in and to whom they’re communicating. For instance, for TV and film, if I’m sitting across a table from the other character, it automatically effects the energy with which I propel my communication. Yes, we have to consider how tight the camera is on us, the framing, so as not to pop out of frame, but that’s just common sense and being aware. Unlike in the theatre when our focus is on being heard by someone in the last row, with the camera we have the luxury of being more intimate because our “audience” is just a few feet from us. But I disagree with the idea that we have to “tone down” our performance for the camera. You live the life of the character, are sensitive to the energy needed to land your communication, and are aware of the camera’s lens capturing you. Then you let it fly. 

Can you share any insights from your experiences studying under notable mentors like Suzanne Shepherd and Julie Bovasso?

Both of those women were strong artists wearing multiple hats. Julie was impactful not only by being a wonderful teacher but also a dynamic actor, playwright and director. It serves an actor well to study with teachers who are also directors. They can teach you how to direct yourself, which is often needed, especially in TV because of the speed of production. TV directors don’t have time to get into the minutia of your character and your motivations. We need to know how to break things down for ourselves. Suzanne’s teaching was drawn from Sanford Meisner, which helped me to focus on using my imagination. And again, Suzanne was an accomplished teacher, actor and director. As a young actor, being mentored by these powerful women set something in motion within me that has carried me far. 

In The Toast, you play a wedding planner. What do you find intriguing about the role, and how do you connect with the character?

I immediately connected with the character when I was prepping for my audition. I knew exactly who she was. Coming from a family of strong Brooklyn-Greek aunts and grandmothers has instilled a relentlessly focused force in me. Hil, as the wedding planner, has to keep all the moving parts well-oiled and pushing forward. I had a blast with her. I also love that the film is a comedy, because a lot of the TV roles I’ve done had me playing professional women, lawyers, judges, doctors, etc. I’ve done a lot of comedy in the theatre and had been missing it, so letting my wacky self rip was a treat.

What advice would you give to aspiring actors and writers who look up to your journey and want to make their mark in the industry?

I’m at a place in my career where I feel it’s my responsibility to share what I’ve learned on this long and winding road. I’ve created an online course to help actors navigate the terrain of an acting career, The Thriving Artist Course. It’s not about the technique of the craft, but rather focuses on how to keep elevating your career and life as an artist. But I’ll throw out a few pieces of advice. 

Keep studying your craft, because your skill as an actor is the bottom line and it will carry you forward. In Milton Katselas’ Master Class, I’d sit beside the late Doris Roberts. She was in her seventies at the time with numerous Emmy awards from her work as Ray’s mother in Everybody Loves Raymond. She told me she came to class every Saturday because she always went home with another tool for her acting tool chest. That’s a pro.

Remember that what you do is vital to the culture, it IS the culture. The world, in its present condition, needs you and your creations. Surround yourself with like-minded artists who have each other’s back, who celebrate each other’s wins and help one another. Collaborate, get your original ideas out there. Don’t wait for Hollywood to give you a ticket to the party. Print your own ticket. Hold your head high. You are an artist. You entertain, you heal, you inspire—and you create the future. 

For more information on Robin, please visit: robinkarfo.com.