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Stage
“ . . . Wonderful, debonair, insouciant, and humorously self-referent a la mode d’Errol Flynn, all flourishes and malappropriate derring do, yet behind the ridiculous posturing lurks a man of kindness, integrity, a performance that, like the play is more than it seems.”
Wild Oats by John O’Keefe at CSC Repertory – NYC Faber – The Village Voice
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TV/Film
“You’re not able to do everything the script calls for. You do what you can, that’s what you share, that’s what you give. The audience is the co-author and the co-director and the collaborator. They will do the rest.”
Jean Renoir
Narration and Voice Over
Performed at the Prague Spring Music Festival Concert at Terezin, CZ as well as the Kennedy Center in Washington, D.C., Maestro Murry Sidlin continues to conduct Verdi’s Requiem, with narration, in honor of conductor Rafael Schaecter’s performance of the same with prison choir at Terezin Concentration camp during German occupation.
https://www.pbs.org/video/religion-ethics-newsweekly-defiant-requiem-verdi-at-terezin/
This epic poem is accompanied with music by Richard Strauss, adapted to full orchestration by Maestro Emil de Cou while conductor of The Virginia Chamber Orchestra.
Solo Performance
The Booth Project
After 25+ years of research and 12 months of intensive text development, my creative team and I created a 70-minute dramatic exploration of the life, words and roles of America’s foremost Shakespearean actor, now entitled,
Haunted Prince, A Requiem for Edwin Booth.
A Requiem for Edwin Booth
Brian Friel Theatre = Belfast, NI
Thursday 14 June 2018
Opening night at the British Shakespeare Association Conference
The Long Run - Questions with Gary Sloan
By Paden Fallis, Performing Arts Contributing Editor
It’s a safe bet that had Romeo and Juliet muscled through their family strife and made it to, say, their 40th anniversary, that some of that youthful passion would have diminished. Just like the tread on your tires wears down or the fillings in your teeth that over time must be replaced. Wine omitted, few things get better with age.
Actors, however, cannot accept this truth. On stage, the actor goes into a contract with the audience that no matter how long the run, no matter how many performances, he must commit to being just as alive, connected, and intense as he was when he very first picked up that script. It’s a commitment that involves body, mind and soul.