Garden State of Mind

I came to acting much later in life compared to most of my colleagues. After attending Rutgers University straight out of Fair Lawn High School, I eventually ended up receiving my BFA in Acting from Montclair State University in my thirties. Upon graduating I quickly realized that I had not only missed out on years of artistic experience and growth, but also on years of developing vital business connections.

Since I had previously worked as a scenic carpenter for The Shakespeare Theatre of New Jersey, I decided to audition there first. Luckily I was granted a small, non-speaking, non-union role in their production of Amadeus. While it may have been impossible to display the depths of my acting ability through such a small role, I was able to exhibit other attributes to the artistic staff that would prove to be rewarding.

My employers could see that I had a tireless work ethic. They witnessed first hand my willingness to collaborate and do whatever it takes to support and enhance the production. A patient and friendly demeanor can also go a long way in the rehearsal room and beyond. Building this foundation of trust and cooperation with the theater afforded me the opportunity to eventually tackle meatier roles and showcase my true potential as an artist. I was then not only becoming a regularly employed company member, but I was also getting offers from outside theaters based upon recommendations from The Shakespeare Theatre.

It is odd to define New Jersey actors as “local” actors. So many of my fellow theater artists that live "in state" constantly work on the other side of the Hudson River and vice-versa. Therefore, our identity as artists is really deeply intertwined with New York. In the hopes of having easier access and availability for auditions, I’ve recently moved into Times Square. While it’s incredibly convenient to live in the heart of the theater district for my profession, I have ironically received more employment in recent years from New Jersey theaters than from New York. While it is impossible to deny the volume, variety and vitality of NYC theater, I have a deep and abiding respect for the strength of the work that is continually produced from my home state and an enduring affinity for the artists responsible for such work.

Few states can compare with what New York has to offer in terms of theatrical diversity. Nevertheless, I can personally attest to the fact that high quality theater is perpetually being produced all over the country. New Jersey is a shining example of this. 

When we take a step back and look at the broader picture, however, few states can compare with what New York has to offer in terms of theatrical diversity. Nevertheless, I can personally attest to the fact that high quality theater is perpetually being produced all over the country. New Jersey is a shining example of this. There are over thirty participating theaters in the New Jersey Theatre Alliance and counting. I have personal affiliations with several of the member theaters and roadhouses including The Shakespeare Theatre of New Jersey and Playwrights Theatre in Madison, Luna Stage in West Orange, NJPAC in Newark, Hamilton Stage in Rahway, and the Paramount Theatre in Asbury Park.

I have forged my New Jersey acting career through a variety of proven techniques—the most important being an unrelenting pursuit of personal artistic maturation. While I did not attend graduate school, I do consider my time as a non-equity actor at The Shakespeare Theatre as an invaluable source of professional education. When surrounded by seasoned performers with impeccable instincts, you’d be hard-pressed to find a more beneficial proving ground. I absorbed as much as humanly possible from those experienced colleagues and after eight mainstage shows and a five-month tour, I was offered my union membership.

I have also had an ongoing relationship with my classmates from Montclair State University. A group of these individuals formed a company entitled Strangedog Theatre. Like myself, they have planted roots in New York and New Jersey as a logical, necessary step towards artistic exposure. Keeping a foot in both camps has proven to be mutually beneficial since it has led to many readings and productions in both states.

There is no better audition than a strong performance in a well-received production. Between my connections with both Montclair alumni and The Shakespeare Theatre, I was able to branch out through word of mouth, through readings, and, most crucially, through performance.

The success of my performances in more challenging roles, with The Shakespeare Theatre in particular, led to a personal highlight of my career. It was an abbreviated performance of The Tempest in a co-production with The New Jersey Symphony Orchestra. I played the role of Caliban as we performed scenes from the Bard’s text, while being supported by an incredibly talented group of musicians playing Sibelius’ music for The Tempest. The unique experience of acting before thousands, rather than hundreds, and feeling the palpable pounding of timpani drums within one’s chest was exhilarating to say the least.

Another uniquely Jersey endeavor was my participation in the revitalization of the old, vaudevillian era Paramount Theater in Asbury Park. Asbury Park had unfortunately become a rundown area and a renewed effort several years back called for a summer season of theater on the boardwalk. Many of my fellow classmates from Montclair/Rutgers were serendipitously invited to join those productions. The venture enabled us to combine our passion for theater with our nostalgic fondness for the Jersey Shore. It became readily apparent that our participation in the project was just as much about “Jersey pride” as it was about artistic growth.

While most performers within the New York vicinity will surely identify themselves professionally as a “New York actor,” I am forever grateful and proud of my New Jersey theatrical heritage. I have been afforded tremendous opportunities in the Garden State and will foster those relationships far into the future.