You may have already heard the news - I am the Executive Producer of Judson Theatre Company in Pinehurst, North Carolina www.JudsonTheatre.com.
Our first season is in January 2012. Hollywood icon Tab Hunter teams with television favorite Joyce DeWitt ("Three's Company") in A.R. Gurney's LOVE LETTERS, Jan 19-22. Then, Jamie Farr (of M*A*S*H fame) headlines TUESDAYS WITH MORRIE, the stage version of the worldwide bestseller, January 26-29.
Get your tickets now!
Tuesday, December 27, 2011
Wednesday, October 5, 2011
Watch this space
Wearing my producer hat much more these days, and should have big news re: projects in New York and out-of-town very soon. Will post an official announcement here.
Sunday, April 24, 2011
Maxwell Anderson's BAD SEED at Nicu's Spoon Theatre - last performance today!
Today is my last performance as Richard Bravo in the Nicu's Spoon Theatre production of BAD SEED, by Pulitzer prize winner Maxwell Anderson. http://spoontheater.org/
BAD SEED has always been a hit: first as a novel by William March (entitled THE BAD SEED), then adapted by Anderson for Broadway where it had a long run and won some Tonys, and finally as a movie which kept a lot of the Broadway cast intact and was nominated for several Oscars.
I've wanted to appear in a production of BAD SEED for a long time, and I was thrilled to find out someone was finally doing it in New York. I was cast on-the-spot at the audition. What a treat to spend a few weeks appearing in yet another show on that list of rarely-produced shows I've always dreamed of doing.
Globe-trotting journalist and former crime-writer Richard Bravo (Christine Penmark's father) is one of those "well-made-play roles" that is great fun for an actor. He's only in two scenes in Act II, but a lot happens... They talk about his arrival in Act I, and his arrival is anticipated again in Act II. The doorbell rings--it's him!--in a vintage mid-1950's tailored single-breasted suit. He comes on, banters with Reginald Tasker and Christine as they all booze it up. He reveals a Terrible Secret! to Christine in an extended two-person scene that allows me to yell, whisper, and cry. Eight-year-old Rhoda arrives and he lifts her in the air (even though he just had heart palpitations). He charms nosy neighbor Monica Breedlove, who has been a longtime fan of his crime writing. In the next scene, wearing another vintage suit (this one's a three button with a bow tie) Bravo does a rat-a-tat-tat phone call on a vintage phone, charms Rhoda and Monica again, and declares his fatherly love to his daughter before running out the door to another journalistic assignment on an off-shore oil rig. Whew!
Audiences still responded to the extraordinarily well-crafted Anderson script. Lots of audible gasps at crucial points from audience members who were unfamiliar with the story. Thanks for a great run are due to everyone--cast, crew, director and audience.
Here's one review:
http://www.edgenewyork.com/?118367
BAD SEED has always been a hit: first as a novel by William March (entitled THE BAD SEED), then adapted by Anderson for Broadway where it had a long run and won some Tonys, and finally as a movie which kept a lot of the Broadway cast intact and was nominated for several Oscars.
I've wanted to appear in a production of BAD SEED for a long time, and I was thrilled to find out someone was finally doing it in New York. I was cast on-the-spot at the audition. What a treat to spend a few weeks appearing in yet another show on that list of rarely-produced shows I've always dreamed of doing.
Globe-trotting journalist and former crime-writer Richard Bravo (Christine Penmark's father) is one of those "well-made-play roles" that is great fun for an actor. He's only in two scenes in Act II, but a lot happens... They talk about his arrival in Act I, and his arrival is anticipated again in Act II. The doorbell rings--it's him!--in a vintage mid-1950's tailored single-breasted suit. He comes on, banters with Reginald Tasker and Christine as they all booze it up. He reveals a Terrible Secret! to Christine in an extended two-person scene that allows me to yell, whisper, and cry. Eight-year-old Rhoda arrives and he lifts her in the air (even though he just had heart palpitations). He charms nosy neighbor Monica Breedlove, who has been a longtime fan of his crime writing. In the next scene, wearing another vintage suit (this one's a three button with a bow tie) Bravo does a rat-a-tat-tat phone call on a vintage phone, charms Rhoda and Monica again, and declares his fatherly love to his daughter before running out the door to another journalistic assignment on an off-shore oil rig. Whew!
Audiences still responded to the extraordinarily well-crafted Anderson script. Lots of audible gasps at crucial points from audience members who were unfamiliar with the story. Thanks for a great run are due to everyone--cast, crew, director and audience.
Here's one review:
http://www.edgenewyork.com/?118367
Saturday, February 5, 2011
MORGAN SILLS in CTI 14-week course
Morgan Sills was accepted into the Commercial Theatre Institute's 14-week program.
This intensive program presents a comprehensive look at numerous aspects of theatrical producing in the commercial arena. Sessions are scheduled for fourteen consecutive Monday nights. Each session provides for in-depth discussions with working Broadway theatre professionals who give detailed, interactive presentations. Particular attention is given to the relationship between the for-profit and not-for-profit sectors in project development.
Admission is limited to 25 participants who must be nominated by a working management member of the professional theatre community.
This intensive program presents a comprehensive look at numerous aspects of theatrical producing in the commercial arena. Sessions are scheduled for fourteen consecutive Monday nights. Each session provides for in-depth discussions with working Broadway theatre professionals who give detailed, interactive presentations. Particular attention is given to the relationship between the for-profit and not-for-profit sectors in project development.
Admission is limited to 25 participants who must be nominated by a working management member of the professional theatre community.
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