Dear Casting Director,
On The Last Ferry for Tidewater Pictures, director R. Mendez kept the camera close and the takes long, and I learned to hold a supporting scene still while it ran rather than fill it. That same patience carried into Quiet Hours, the NYU graduate thesis film where I played the lead and had to build a full arc out of quiet rooms and few words. I trained for that control before I ever worked on camera, earning a BFA in Acting from Boston University and grounding my voice and speech in IPA dialect coaching. Hudson Crossing builds seasons that ask for exactly that mix of stage discipline and on-camera restraint, and I want to work inside it.
I have played John Proctor in The Crucible at Pittsburgh Public Theater and Mitch in A Streetcar Named Desire at Fulton Theatre, both roles that ask for the slow burn and physical control your audition notice describes. I trained in the Meisner technique at the William Esper Studio and carry a baritone for the season's musical slot if needed, having understudied Sweeney while playing Pirelli in Sweeney Todd at Hartford Stage. I am also an SAFD Actor Combatant, certified in unarmed, rapier and dagger, and broadsword, so staged violence can be built fast and safely in the rehearsal room.
I am based in New York and carry SAG-AFTRA and Actors' Equity standing, so I can be submitted for your theater slate and any filmed or recorded work the season picks up. Send me a side and I will turn around a self-tape within a day, or read in the room off-book if you prefer to direct it live. I take adjustment fast and can have references from the directors above to you on request.