Inquiries re: acting availability (print & screen) may be addressed to Colleen Bell Talent Agency 425-649-1111
(stage) ................................................ Eric Newman [email protected]
(stage) ................................................ Eric Newman [email protected]
ACTING RESUME
SELECTED CONTEMPORARY
Ladies of the Corridor Charles Nichols Equity Member Project dir. by: Karen Kinch
Love, Sex, and the IRS Floyd Skinner Bellevue Civic Theatre Curt Hetherington
There Goes the Bride Bill Shorter California Conservatory Linda Piccone
A Girl Can Dream Lord Cornbury Mae West Festival Josie Davis
Reckless Tom, Tom Jr., Tim Timko Steeplechase Productions Roger Tompkins
The Obscene Bird of Night Don Jeronimo Open Circle Theater Melanie White
Little Miss Dreamer Easel/Grocer Langston Hughes Michelle Blackmon
Stuff & Nonsense * Edward Lear Theatre Babylon Ellen Graham
The Hothouse Lamb Steeplechase Productions Bill Dore
Summer and Smoke Rev. Winemiller Crazy Eights Productions Ellen Graham
I Hate Hamlet Barrymore Valley Community Players Peter Lowell
A Chorus Line Zach Evergreen Theatre Company Stephen Locklear
Picnic Howard Driftwood Players Mark Sheppard
Eyewitness (educational tour) Ensemble CenterStage Steve Alter
* Solo Show, playwright & actor, Stuff & Nonsense included in Joe Boling’s top 10% for 2000
SELECTED CLASSIC
The Winter’s Tale Antigonus Wooden O Theatre Vanessa Miller
The Tempest King Alonso Wooden O Theatre George Mount
The Taming of the Shrew Gremio Wooden O Theatre Susanna Wilson
As You Like It Orlando Mountaineer Players Erwin Rosen
Love’s Labour’s Lost Longaville Glen Hughes Playhouse Edward Payson Call
King Lear Musician Bathhouse Theatre Arne Zaslove
Romeo & Juliet Prince Escalus Mountaineer Players Julia Garnett
Henry IV, pt.1 King Henry Park City Shakespeare Festival Ron Burnett
The Taming of the Shrew Lucentio Park City Shakespeare Festival Anthony Leger
The Revenger’s Tragedy Lussorioso Open Circle Theatre Jason Dittmer
TRAINING
Acting: Theatre 9/12
Charles Waxberg
Freehold Theatre Conservatory, Seattle, WA
Tony Pasqualini and Robin Lynn Smith
Studio 3 - Utah, Salt Lake City, UT
Cliff Osmond
Stage Combat Actor/Combatant, Certified ’88 & ‘04 – Geof Alm, instructor
Voice Veronica Weikel, Judith Shawn
SELECTED CONTEMPORARY
Ladies of the Corridor Charles Nichols Equity Member Project dir. by: Karen Kinch
Love, Sex, and the IRS Floyd Skinner Bellevue Civic Theatre Curt Hetherington
There Goes the Bride Bill Shorter California Conservatory Linda Piccone
A Girl Can Dream Lord Cornbury Mae West Festival Josie Davis
Reckless Tom, Tom Jr., Tim Timko Steeplechase Productions Roger Tompkins
The Obscene Bird of Night Don Jeronimo Open Circle Theater Melanie White
Little Miss Dreamer Easel/Grocer Langston Hughes Michelle Blackmon
Stuff & Nonsense * Edward Lear Theatre Babylon Ellen Graham
The Hothouse Lamb Steeplechase Productions Bill Dore
Summer and Smoke Rev. Winemiller Crazy Eights Productions Ellen Graham
I Hate Hamlet Barrymore Valley Community Players Peter Lowell
A Chorus Line Zach Evergreen Theatre Company Stephen Locklear
Picnic Howard Driftwood Players Mark Sheppard
Eyewitness (educational tour) Ensemble CenterStage Steve Alter
* Solo Show, playwright & actor, Stuff & Nonsense included in Joe Boling’s top 10% for 2000
SELECTED CLASSIC
The Winter’s Tale Antigonus Wooden O Theatre Vanessa Miller
The Tempest King Alonso Wooden O Theatre George Mount
The Taming of the Shrew Gremio Wooden O Theatre Susanna Wilson
As You Like It Orlando Mountaineer Players Erwin Rosen
Love’s Labour’s Lost Longaville Glen Hughes Playhouse Edward Payson Call
King Lear Musician Bathhouse Theatre Arne Zaslove
Romeo & Juliet Prince Escalus Mountaineer Players Julia Garnett
Henry IV, pt.1 King Henry Park City Shakespeare Festival Ron Burnett
The Taming of the Shrew Lucentio Park City Shakespeare Festival Anthony Leger
The Revenger’s Tragedy Lussorioso Open Circle Theatre Jason Dittmer
TRAINING
Acting: Theatre 9/12
Charles Waxberg
Freehold Theatre Conservatory, Seattle, WA
Tony Pasqualini and Robin Lynn Smith
Studio 3 - Utah, Salt Lake City, UT
Cliff Osmond
Stage Combat Actor/Combatant, Certified ’88 & ‘04 – Geof Alm, instructor
Voice Veronica Weikel, Judith Shawn
Pottery Vita
20+ years ago I made the trek to Seward Park from my apartment on Capitol Hill to take a wheel-throwing class. I had taken a 12-year break from clay because "when I had the time, I didn't have the money, and vice versa." But I finally had an unquenchable urge to get dirty and vowed to find the time AND money. Pottery NW was much closer, but their classes were impossible to get into (unless, it was rumored, you were willing to camp out overnight to sign up, like for a rock concert!)....so, by default, I ended up at SPCS. Saint Justa must have been looking out for me! Before the first quarter was over (thank you, Pat Colyar!), my throwing skills had returned in full force, and after only 3 quarters, I applied for and was accepted as a Resident Artist.
Seward has been a welcoming (if sometimes slightly contentious) home for my personal explorations in ceramics. And, due to a short attention span, there has been A LOT of exploration, including but not limited to:
glaze calculation; clay formulation (e.g., parian ware, wedgewood blue and basalt ware, Egyptian paste); clay marbling; majolica; mocha ware; throwing sets; thrown and altered sculpture; slip trailing; cuerda seca; slab building; incorporating encaustic, glass, cloth, paper, and stones; sgraffito; cone 04, 6, 10 firings, macro-crystalline glazes; raku; glaze inlay; stretched textures; and an on-going (now sadly defunct) "dialog" between my pottery and plays at ACT Theatre, (previously available for purchase in their lobby).
Yet within this diversity of processes, the final pots are almost all recognizable as being the product of a single artist. My internalized aesthetic (thank you Mom!) seems to keep a tight rein on what my hands/eyes produce...the same basic, classic lines inform each piece.
Seward has been a welcoming (if sometimes slightly contentious) home for my personal explorations in ceramics. And, due to a short attention span, there has been A LOT of exploration, including but not limited to:
glaze calculation; clay formulation (e.g., parian ware, wedgewood blue and basalt ware, Egyptian paste); clay marbling; majolica; mocha ware; throwing sets; thrown and altered sculpture; slip trailing; cuerda seca; slab building; incorporating encaustic, glass, cloth, paper, and stones; sgraffito; cone 04, 6, 10 firings, macro-crystalline glazes; raku; glaze inlay; stretched textures; and an on-going (now sadly defunct) "dialog" between my pottery and plays at ACT Theatre, (previously available for purchase in their lobby).
Yet within this diversity of processes, the final pots are almost all recognizable as being the product of a single artist. My internalized aesthetic (thank you Mom!) seems to keep a tight rein on what my hands/eyes produce...the same basic, classic lines inform each piece.