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HOPE & GRAVITY Column Nomination

The Column AwardsNominations for The Column Awards were announced recently and I am pleased to report I’ve been nominated Best Supporting Actor in a Play, Equity for my performance in last summer’s production of Hope & Gravity at Circle Theatre.  This is my second nomination in this category and my fifth nomination overall.  I am grateful to all Column voters for the recognition and congratulate all the nominees.

The Column Awards honors excellence in theater throughout the Dallas-Fort Worth theater community, both in Equity and Non-Equity theater companies.  This marks their 16th year uniting and celebrating the accomplishments of all artists who bring to life the art of theater.

Nominations are made by the over 22,000 readers who subscribe to The Column.  Practically everyone and anyone who is involved in DFW theater is a subscriber as well as those who love to attend and support this beautiful art.  Thus, those nominated have been chosen not only by the very peers with whom they work but also the very audiences for whom they perform.

The Column Awards is also a major fundraiser gala for Broadway Cares/Equity Fights Aids, a charity they have supported since year one.  They have raised & donated close to $70,000.00 to BC/EFA to date. The Column Awards is the only awards organization in the entire United States that donates all money raised (after expenses) from ticket sales of the gala to BC/EFA.  The Column Awards has been very honored to have been acknowledged by the national media, BC/EFA, Actor’s Equity Association, and the Broadway community for their fundraising efforts.

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They Think To Go Like Saints

Print vouchers for $2 off/ticket.

Print out a voucher for each ticket desired, present them at the theater and receive $2 off/ticket!

Rehearsals are well underway for my next project, The Crucible, a play by Arthur Miller and a classic of American drama. Opening September 12th and running through the 28th, the production re-teams me with director Allen Walker (The Curious Savage, Hay Fever) and launches Tarrant Actors Regional Theatre’s second season. I will perform the role of John Proctor.

Salem, Massachusetts, 1692. When a farmer’s wife is falsely accused of witchcraft by her former serving girl, the threads of this Puritanical society begin to unravel. Class envy and long-held grudges erupt as it suddenly becomes fashionable for neighbor to accuse neighbor of trafficking with the Devil.  Can John Proctor save his wife’s life, along with his own good name, before the fires of bigotry and deceit consume their world? This gripping drama, which Arthur Miller wrote as a condemnation of McCarthyism in the 1950s, is still a timely parable for our contemporary society.

Tickets may be purchased online at or by calling the box office at 682-231-0082.

UPDATE: You may also purchase tickets at the theater and receive a discount.  Simply print out as many ticket vouchers as needed and present them at the door for $2 off each ticket.  Vouchers are only valid at the box office and cannot be used for tickets purchased online.

Reviews of The Crucible:

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Big Improv Show Tuesday Night

Here’s the flyer for our next Improv Dallas Big Improv Show:

Improv Dallas Show 20140812

For more information, visit!

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Voice Over Demo Online!

Brad Stephens Records VO ReelMy new voice over demo went live today at

On Wednesday, I met with fellow actor, sound engineer and studio owner David H.M. Lambert (currently performing with me in Too Many Cooks at Circle Theatre) to record the demo and had the pleasure of receiving direction from the lovely Anne Lockhart.  Together, we cut eight spots in a couple of hours and produced a demo with which I’m quite pleased.  I cannot express enough my gratitude for their help.  In my opinion, Lambert studios is the best value in DFW for voice actors in need of a demo reel.

You can hear my sixty second reel below or head over to Lambert Studios website and hear the whole kit and caboodle!

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Undermain Blog


Paul Walsh is Professor Of Dramaturgy And Dramatic Criticism at Yale School Of Drama.  He is also author of a new translation of August Strindberg’s The Ghost Sonata, which Undermain will be performing from April 13 to May 11.  Several weeks ago, he was kind enough to answer some of my questions about translating this notoriously rich and difficult modern masterpiece.  What follows is the full text of our interview — previously available in truncated form in the Undermain Newsletter.

Stephen Foglia: Just to orient ourselves, how did you come to translate Ghost Sonata? And what prepared you for the task?

Paul Walsh: Many years ago, when studying for my master’s degree at the University of Minnesota, I became fascinated with Strindberg. He is after all a fascinating character. And with the help of a professor in the Scandinavian department there (the great Strindberg scholar Göran Stockenström)…

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Here’s a great read about my upcoming project, The Ghost Sonata at Undermain Theatre running April 13 – May 11, 2013.

Undermain Blog

Ghost Sonata Promo_20130314_0121 TOUCHED UP

Following up last week’s post on given circumstances as an element of play analysis, I’d like to turn my attention to the play Undermain is currently rehearsing – August Strindberg’s Ghost Sonata.

Ghost Sonata is a highly unusual play in many regards.  The relatively swift three-scene structure is based on sonata form rather than traditional theatrical acts.  Identifying a clear protagonist is tricky: the character driving the action only appears in two of the three scenes, and the hero (/audience surrogate) is hardly present for more.  The dream-logic of the play makes the very rules of the world difficult to pin down.  When it comes to given circumstances, Ghost Sonata also explores an extreme end of the spectrum.

As I mentioned previously, some plays offer very little concrete information regarding given circumstances.  Beckett and Pinter, for example, tend to be elusive.  Most plays dole out a small amount of…

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Thanksgiving Proclamation

To everyone with whom I have been blessed to cross paths this year, Arlette and I wish you the happiest of Thanksgiving holidays.

The year that is drawing toward its close has been filled with the blessings of fruitful fields and healthful skies. To these bounties, which are so constantly enjoyed that we are prone to forget the source from which they come, others have been added which are of so extraordinary a nature that they can not fail to penetrate and soften even the heart which is habitually insensible to the ever-watchful providence of Almighty God.

In the midst of a civil war of unequaled magnitude and severity, which has sometimes seemed to foreign states to invite and to provoke their aggression, peace has been preserved with all nations, order has been maintained, the laws have been respected and obeyed, and harmony has prevailed everywhere, except in the theater of military conflict, while that theater has been greatly contracted by the advancing armies and navies of the Union.

Needful diversions of wealth and of strength from the fields of peaceful industry to the national defense have not arrested the plow, the shuttle, or the ship; the ax has enlarged the borders of our settlements, and the mines, as well as the iron and coal as of our precious metals, have yielded even more abundantly than heretofore. Population has steadily increased notwithstanding the waste that has been made in the camp, the siege, and the battlefield, and the country, rejoicing in the consciousness of augmented strength and vigor, is permitted to expect continuance of years with large increase of freedom. No human counsel hath devised nor hath any mortal hand worked out these great things. They are the gracious gifts of the Most High God, who, while dealing with us in anger for our sins, hath nevertheless remembered mercy.

It has seemed to me fit and proper that they should be solemnly, reverently, and gratefully acknowledged, as with one heart and one voice, by the whole American people. I do therefore invite my fellow-citizens in every part of the United States, and also those who are in foreign lands, to set apart and observe the last Thursday of November next as a day of thanksgiving and praise to our beneficent Father who dwelleth in the heavens. And I recommend to them that while offering up the ascriptions justly due to Him for such singular deliverances and blessings they do also, with humble penitence for our national perverseness and disobedience, commend to His tender care all those who have become widows, orphans, mourners, or sufferers in the lamentable civil strife in which we are unavoidably engaged, and fervently implore the imposition of the Almighty hand to heal the wounds of the nation and to restore it, as soon as may be consistent with the divine purpose, to the full enjoyment of peace, harmony, tranquillity, and union.

In testimony whereof I have hereunto set my hand and caused the seal of the United States to be affixed.

Done at the city of Washington, this 3d day of October, A.D. 1863, and of the Independence of the United States the eighty-eighth.



Abraham Lincoln

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The Last Course

ICT MainStage’s production of Don’t Dress For Dinner concludes its very successful run this weekend in the Dupree Theater at the Irving Arts Center.  Written by Marc Camoletti and directed by ICT mainstay Jill Stephens, Don’t Dress For Dinner has delighted audiences and critics alike.  The final three performances begin tonight at 8 PM and run through Saturday evening.

Don’t miss your chance to see what Lyle Huchton of John Garcia’s The Column calls “one of the best ensemble casts I have seen to date.”  EDGE Contributor Douglas Dodasovich says “if you’re in the mood for a decadent dessert with unexpected bursts of flavor, put Don’t Dress for Dinner on your grocery list.”

Don’t Dress for Dinner is a frenetic case of mistaken identity with more twists than a corkscrew.  When Jacqueline decides to visit her mother for a few days, her husband Bernard sees an opportunity for a cozy weekend with his new mistress.  His bachelor pal Robert calls to announce his return from Hong Kong, so Bernard invites him along as his alibi, also hiring a Cordon Bleu-level cook to cater a delicious dinner.  But when Jacqueline realizes Robert is coming for a visit everything changes, and the high speed farce begins!  One impossible situation leads to another as the hapless friend Robert finds himself the target of both amorous attention and wrathful vengeance, while Bernard tries desperately to salvage a scrap of illicit bliss from the wreckage of a weekend.

Check my event calendar for performance dates and times and be sure to visit the ICT website for more information or to make reservations.  To recieve discount coupons, send me a message through my Google Profile page or simply leave a comment on this blog entry!

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Happy New Year, 2009

In Memoriam A.H.H.

by Lord Alfred Tennyson


 Ring out, wild bells, to the wild sky,
     The flying cloud, the frosty light:
     The year is dying in the night;
Ring out, wild bells, and let him die.

Ring out the old, ring in the new,
     Ring, happy bells, across the snow:
     The year is going, let him go;
Ring out the false, ring in the true.

Ring out the grief that saps the mind
     For those that here we see no more;
     Ring out the feud of rich and poor,
Ring in redress to all mankind.

Ring out a slowly dying cause,
     And ancient forms of party strife;
     Ring in the nobler modes of life,
With sweeter manners, purer laws.

Ring out the want, the care, the sin,
     The faithless coldness of the times;
     Ring out, ring out my mournful rhymes
But ring the fuller minstrel in.

Ring out false pride in place and blood,
     The civic slander and the spite;
     Ring in the love of truth and right,
Ring in the common love of good.

Ring out old shapes of foul disease;
     Ring out the narrowing lust of gold;
     Ring out the thousand wars of old,
Ring in the thousand years of peace.

Ring in the valiant man and free,
     The larger heart, the kindlier hand;
     Ring out the darkness of the land,
Ring in the Christ that is to be.

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Goodbye and Farewell, 2008

A Song for New Year’s Eve

 by William Cullen Bryant


Stay yet, my friends, a moment stay-
     Stay till the good old year,
So long companion of our way,
     Shakes hands, and leaves us here.
          Oh stay, oh stay,
One little hour, and then away.

The year, whose hopes were high and strong,
     Has now no hopes to wake;
Yet one hour more of jest and song
     For his familiar sake.
          Oh stay, oh stay,
One mirthful hour, and then away.

The kindly year, his liberal hands 
     Have lavished all his store.
And shall we turn from where he stands, 
     Because he gives no more? 
          Oh stay, oh stay,
One grateful hour, and then away.

Days brightly came and calmly went, 
     While yet he was our guest;
How cheerfully the week was spent! 
     How sweet the seventh day’s rest! 
          Oh stay, oh stay,
One golden hour, and then away.

Dear friends were with us, some who sleep 
     Beneath the coffin-lid:
What pleasant memories we keep 
     Of all they said and did! 
          Oh stay, oh stay,
One tender hour, and then away.

Even while we sing, he smiles his last, 
     And leaves our sphere behind.
The good old year is with the past; 
     Oh be the new as kind! 
          Oh stay, oh stay,
One parting strain, and then away.

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