Walking with the Enemy write up in Star Tribune

Thank you Graydon Paul Royce. Here’s a nice write up on Walking with the Enemy. Still in theaters! Go out and see me Nazi it up!


Walking with the Enemy released in US Theaters!

WALKING WITH THE ENEMY, the remarkable and compelling film inspired by a true story, starring Jonas Armstrong and Academy Award Winner Ben Kingsley, with Charles Hubbell, has captivated audiences across the United States and will be coming to a theater near you soon!

Cinematic Performance Panel

An interesting video of a panel on cinematic performance that I participated in.

Poor on-camera performance is a common weak spot in film today, especially the independents. Through live examples, this panel of artists examines the difference between acting for film and acting for the theater, and the challenges each medium presents. In the process they will also share their personal stories, artistic leanings, and approaches.

Topics include: How to get the best out of first time actors, methods of working with non-professionals, how the best directors get the best performances, the need for serious study in acting, what actors look for in good direction, and what actors look for in a good screenplay.

Patrick Coyle
Erik Stolhanske
Greta Oglesby
Charles Hubbell

One for the Road at Bryant-Lake Bowl

Harold Pinter’s dark play subjects family to “enhanced interrogation”

By Ed Huyck Wednesday, May 25 2011

Opening with a furious minute-long blast of grinding hardcore punk and ending 45 minutes later with a brutal punch line, Killing Joke Production’s One for the Road ramps up the discomfort to high levels. Fueled by a gripping, frightening performance by Charles Hubbell as Nicolas, the one-act takes us into one of Harold Pinter‘s darkest worlds, where the usual psychological danger is magnified by the constant threat of violence and torture.

Set in a nameless facility in a nameless, totalitarian state, One for the Road centers on Nicolas‘s interrogations of a family: father Victor (Lijesh Krishnan), mother Gila (Ariel Pinkerton), and young son Nicky (Morgan Guinta). In each of the play’s four scenes, Nicolas “chats” with one of them at a time. The family is silent and ragged. Though the actors don’t show any physical signs, it’s clear they’ve been tortured.

The reason is never explained—nor should it be, really. Pinter is playing with themes that guided much of his writing, especially ones about power and submission. Except that there’s no hope at all for a reversal of the situation here, and the characters know it. Unless there is a regime change, Nicolas is in charge and will remain in charge over an endless parade of Victors, Gilas, and Nickys.

Hubbell’s sharp, gaunt features turn Nicolas into a specter of death, with a constant menace in his voice and body language, even while trying to be cordial with his victims. Pinter didn’t give the other characters much to do, with poor Krishnan largely silent during his two scenes.

Hubbell is certainly up to the heavy lifting the play requires, staying precise and in control, from the opening minutes as he arranges every element of the stage to his liking for the first interview, down to putting the chair in the exact position he wants and lining up his pens, to the play’s final moment.

While Victor provides no resistance at all, Nicky and Gila still have some fire burning in them. This gives the play some spark missing from the first interrogation, especially in the way Pinkerton tries to keep her character’s heart and soul intact, even though she is on the brink of destruction. Those minutes between her and Hubbell are the best here—a dynamic, subtle interplay that pushes the tension to the point where the audience is dying for some kind of release, but one that never comes.

The Homecoming by Harold Pinter

Gremlin Theatre Presents:  

The Homecoming by Harold Pinter

Directed by Matt Sciple

February 5-21, 2010

The Reviews are in!

“the best theater I’ve seen in five years… a brilliant madhouse” – MNPlaylist

“biting and baffling, just the way Pinter would want it” – Pioneer Press

“deliciously vicious… well-acted… a serious (funny) classic that any good student or fan of theater should see” – Star Tribune

“It’s hilarious.  It’s horrifying.  It’s brilliant” – TC Daily Planet

One moment, however, stood out to me and it wasn’t scripted. Charlie (Charles) Hubbell is a well respected, very talented actor. He was also the ew factor. His portrayal of Lenny was, as one of my acting teachers used to put it, “lovely.” There was a detail to every move, every line, every sigh, every single moment. His monologue to his older brother extolling all the virtues of living such a high life in America was hilarious and beautifully played. But it was the actor’s unexpected stage business that has made me a fan.

At one point in the first act, as someone put something on or took something off a standing coat tree, a hat fell to the floor. Charlie did what any decent actor would do and didn’t ignore it; he acknowledged it and picked it up and put it back on the tree. But it was the way he did. He didn’t simply lean over and get it, he did the entire thing in character, but not just in character but with the same complexity of the moment that permeates this script and this production. There was meaning in the way he hung it up. It revealed to us his character, it revealed to us how he likes his home to be and it revealed how he felt about the person to whom the hat belonged.

It was a stunning and brilliant moment. It was an example of what truly fine acting can and should be.    – The Man in the Yellow Hat (Blog)

Getting Into Character: Twin Cities Actor Charles Hubbell Makes A Name For Himself

By Aratee Martin


High energy, humor, and talent are what the employers of actor and voiceover artist Charles Hubbell have become accustomed to. “He is able to do dialects at the drop of a hat,” says Bolin Marketing Director, John Simpson. “He can dial it as narrow as Ronnie Wood from the Rolling Stones.”

Hubbell began acting at a young age with his uncle, doing comedy acts to entertain his family. These family performances, combined with summer theater classes and an education in theatre helped hone Hubbell’s improv skills.

Simpson recognized Hubbell’s talent about five years ago when hosting an audition for a mock documentary that was being filmed outdoors in the middle of the winter. At the time, he was searching for a person to play the role of a fanatic that would visit the fair grounds year-round. Hubbell’s appearance was unforgettable.

“He showed up at the audition wearing a long army coat and a stocking cap and he looked almost dangerous, but in a funny way,” says Simpson while laughing. “The characterization that he created coming into that audition just blew everybody away.”

Simpson has been impressed with Hubbell’s ability to immediately fall into character and says he has come to expect it from every audition with the actor. Character creation is a specialty for Hubbell, who uses his improv skills to bring immediate life to the scripts he receives.

“The script they give me on the radio may or may not work when they’re finally doing it,” says Hubbell. “My improv is a good business skill. I can help them create an advertisement that works.”

Christian Petersen, Director of “Midnight Chronicles” and CEO of Fantasy Flight Games, chose Hubbell to take on the role of Mag Kiln in the movie adaptation of the popular role-playing game. In addition to Hubbell’s improv skills, Peterson says he chose Hubbell as one of his leading characters because of his “powerful voice.”

“He has an ability to really have a texture and a nuance to his voice that I think drives character,” says Peterson, who was impressed by Hubbell’s “ability to really project a character through voice.”

Creativity and the ability to create a solid character have made Hubbell a staple at Non-Union Talent Service (NUTS). Peta Barrett, one of Hubbell’s agents at NUTS, mentions that it’s easy to find jobs for Hubbell because of his ability to add depth to any character or scene he is presented with.

“He’s just so incredibly creative,” says Barrett, who has worked with Hubbell since 2000. “We found out very early on that he has a lot of characters in his head and he can take direction like a dream.”

“To work with Charles was just a blessing,” adds Peterson. “He’s just a very talented guy. He’s a very funny guy. But even though he has this built-in genetic humor he’s able to switch that off and really turn into a good dramatic actor.”

Hubbell mentions that he enjoys film because it has given him the opportunity to do things he had never had the opportunity to do before. “I got to ride horses in the last project I did,” says Hubbell. “I got to dance around on huge green screens.”

As much fun as Hubbell had on set, he practiced hard off the set to get a true feel for his “Midnight Chronicles” character. Hubbell mentions taking kickboxing lessons with a private instructor in addition to the fight choreographer on the set to perfect his moves on screen.