Category: Blog

  • The Study of Acting

    The Study of Acting

    While training, I have been exposed to a variety of acting styles and techniques. There are two, however, that resonated with me as performer and continue to inform my performances. That would be Uta Hagen’s, “Respect for Acting” and Michael Chekhov’s, “To the Actor.

    Uta Hagen’s approach emphasizes realism, psychological depth, and the actor’s connection to the character and circumstances. Hagen’s principles, as outlined in “Respect for Acting” include:

    1. Object Exercises: Actors focus on specific objects to enhance concentration and sensory awareness, grounding their performances in tangible, sensory experiences.
    2. Substitution: Encourages actors to replace personal experiences with those of the character, fostering authenticity and emotional truth in their portrayal.
    3. Personalization: Actors draw on their own emotions and memories to connect with the character’s feelings, creating a genuine and relatable performance.
    4. Units and Objectives: Breaking down scripts into specific beats or units, actors identify their character’s objectives in each moment, promoting a dynamic and purposeful approach to scenes.
    5. Through-line of Actions: Emphasizes the importance of understanding the character’s overarching goals and desires throughout the entire play or scene, maintaining consistency and coherence in the portrayal.

    Michael Chekhov, a Russian actor and theater practitioner, outlined his approach to acting in his book “To the Actor.” Chekhov’s principles focus on the psychological and spiritual aspects of the actor’s craft.

    1. Psychological Gesture: Encourages actors to find a physical gesture that embodies the essence of a character, fostering a deeper connection to the character’s emotional core.
    2. Imagination: Emphasizes the use of imagination to evoke authentic emotions and experiences, allowing actors to tap into the rich inner life of their characters.
    3. Sensations: Actors explore the physical sensations associated with emotions, creating a visceral and embodied performance.
    4. Form: Highlights the importance of understanding the overall structure of a play or scene, guiding actors in creating a coherent and impactful performance.
    5. Rhythm: Advocates for the exploration of rhythmic patterns in speech and movement to enhance the expressiveness and dynamic quality of a performance.

    I highly recommend both of these books. Click here to get “Respect for Acting” and click here to get “To the Actor”

  • Things Get “Crazy For You” in just over a week!

    That’s right folks, Crazy For You at Villanova opens in just over a week! Go here to get your tickets!

  • Crazy For Your Rehearsal Continues!

    Crazy For Your Rehearsal Continues!

    At rehearsal tonight. Getting to see all the amazing work the dancers have done in the past few weeks. We open in just 3 weeks!

  • Accents and Dialects…

    Accents and Dialects…

    I’ve always loved making funny voices, so when I started acting, accents and dialects seemed like a skill I should try. I recently got this book, “Accents and Dialects for Stage and Screen” by Paul Meier, to really cement my skills in the hope of becoming a dialect coach someday. Come see me in Crazy For You at Villanova University where I will be doing a British accent playing the role of Eugene Fodor.

    Over the years, I have worked with coaches in various productions to do British, Irish, and Maine accents, while also learning IPA. With those two skills, this book makes it easy to pick up a new accent or dialect with ease. I highly recommend it. These skills really do increase your marketability as an actor. To pick up a copy of “Accents and Dialects for Stage and Screen” by Paul Meier, go here!

  • How it all began?

    How it all began?

    I have always been on stage. I grew up singing in choirs. From the 3rd grade on, I was in every choir available to me, even being a paid singer in a church while only 17. However, I ended up working as in IT for 17+ years while only performing for fun. That all changed in 2012 when I was in the audience at Saturday Night Live!

    While watching the show, I realized the work they were doing wasn’t very different from the performances I was doing with the Dumpsta Players. The difference was budget and “polish” when it came to makeup and costuming. I had this overwhelming feeling of “I can do that.” So, after a bit of research, I found out that many performers on SNL are scouted from various comedy schools. That’s when I enrolled in sketch writing and improv at the Upright Citizens Brigade in NYC.

  • In Need of New Headshots!

    In Need of New Headshots!

    The inevitable has happened! I’ve aged! So, that means it’s time for new headshots. I’ll be working soon to take some new ones. In the mean time, this pic is a recent selfie and more closely resembles what I actually look like, with a beard of course!!

  • Crazy for You Starts!

    Crazy for You Starts!

    Rehearsals for Crazy for You at Villanova start tomorrow! I’ll be playing a British Tourist named Eugene Fodor.

    The show runs from February 15 – 25, 2024. Go here to get your tickets!

  • Hello! Happy 2024!

    Hello! Happy 2024!

    Welcome to my new website and my very first post! Wishing everyone a wonderful 2024! I’ll be posting my latest projects and events on this site to share with you all.