My work in Theater
Rent (2004-2005)
Performed in over 20 cities across the U.S. in the feature role of Tom Collins.
Superior Donuts
Bill Geisslinger as Arthur is a perfect casting choice. He's a "quiet" actor, contained, capable of intensity, but also smaller emotions that come from his character's insecurities, principles and family history. And so he gives both the "interesting characters" and his co-star, Vin Shambry as Franco, room to express themselves, without having to worry too much about him. I've watched Geisslinger for many years on stage, mostly at Oregon Shakespeare Festival, and when I see that he's involved in a project, I know that I'm going to be in good hands. Shambry is a gifted actor -- he moves well, he sounds great, he understands contemporary gestural and vocal idioms perfectly. And he and Geisslinger, together in so many scenes, play off of each other really well, which is a credit to Nause, I suppose, too. Speaking of sit-coms (I think that's where we came in), he reminded me at first of young Will "Fresh Prince" Smith, maybe because of his vocal rhythms, but also the timbre of his voice and physical energy. That was a fleeting impression, though, forgotten as the play moved forward, and it's not a slight at all because that version of Will Smith had a certain genius about him as an actor. Gem of the Ocean
As newly freed slaves journey northward, many find themselves on the
doorstep of 1839 Wylie (the home slated for destruction in Wilson's
1990s-era 'Radio Golf'). It is the home of Aunt Ester, a 285-year-old
former slave and renowned cleanser of souls. Among those seeking
redemption is Citizen Barlow, burdened by an unconfessed crime that has
thrust Pittsburgh’s local steel mill into riots. To release Citizen,
Aunt Ester launches him on a journey aboard the legendary slave ship,
Gem of the Ocean, to the City of Bones, where Citizen is plunged into
his ancestors’ suffering and the weight of his wrongs.
King Hedley
Alice Wonderland A rock Opera
Don't be fooled by the simple cardboard cutouts of a teapot and the Mad Hatter's hat hanging in the lobby of the Portland Center for the Performing Arts, or the benign twittering of birds onstage before the show. "Alice and Wonderland: A Rock Opera," performed in the Newmark Theatre by the Oregon Children's Theater, departs from the Lewis Carroll story as we know it, and tumbles down the rabbit hole with acoustic fervor, a riot of color and a decidedly psychedelic twist. Vin Shambry As the Mock Turtle belts the blues with vocal magic. -- Holly Johnson, Special to The Oregonian PCS
If this sounds a bit like the Overlook Hotel, it’s intentional. Riordan’s vision draws from a long history of plays and films about haunted places, from the House of Usher to the Event Horizon, and the production is rife with horror movie tropes: flickering lights at the end of a dark hallway, haze, thunder, constant thrumming and even, at one point, distorted children’s voices.
Sally and Tom, A New Musical (2002)
Sally and Tom (The American Way) is Newman and Roboff's sixth musical.
Backstage (2005)
Brings 19th Century feminist pioneers Elizabeth Cady Stanton and Susan B. Anthony and former slave and abolitionist leader Frederick Douglass together on stage in an exploration of the early women's movement and its relationship to the abolitionist movement. Featuring Madelyn Chapman as Elizabeth Cady Stanton, Vin Shambry as Frederick Douglass.
Songs for a New World (2010)
Produced by Portland's Miracle Theater and Staged!, Portland's Musical Theater Series. Music and lyrics by Jason Robert Brown. June 18th - July 3rd 2010
Hamletmachine (2009)
Hamletmachine
by Heiner MÜller Directed by Eva Brenner Coming of Age in Korea (2008) A New Musical
Off-Broadway Castillo Theatre will present Fred Newman's Coming of Age in Korea,directed by Desmond Richardson.
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Black Man Rising
Two-time winner for Best Actor and Best Ensemble Performance at the 35th Annual Vivian Robson Audelco Awards '07, '08
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