I will be appearing as King Herod in Paper Wing Theatre's summer production of SALOME. My lovely wife, Beverly Van Pelt (The Gothic Gourmet), is also featured in the production as  Costume Designer.



Pontypool, my Pontypool...

"Stardust Playhouse production of "Pontypool", the stage adaptation of the Canadian Thriller written by Tony Burgess, Directed by Kirsten Clapp. 

A small town is in the grip of a mysterious frenzy. It may be Valentine's Day, but for caustic radio personality Grant Mazzy (Patrick Golden) that's just another reason to be miserable. Mazzy used to be a radio superstar, but working in Pontypool is a far shot from working in the big city. Today, however, as Mazzy prepares for his regular routine of reading the weather, updating school closings, and pleading his case for a little on-air controversy to producer Sydney Briar (Beverly Van Pelt), the appearance of an unexpected figure (Drew Davis-Wheeler) signals the beginning of a disturbing phenomenon in the small town of Pontypool. Also starring Molly Lindquist and Jesse Juarez."

This opens tonight, October 25, at the Stardust Playhouse in Monterey, CA. Co-starring with my wife, Beverly Van Pelt!



He has wonderful hands...?

Macbeth is buried. He cannot come out on's grave. Headless...mutilated...painted upon a pole and underwrit, "Here may you see the Tyrant."

We were well received. The play was successful. I was a wreck, but apparently it shown through. Excerpted below are pieces of a review by local theater critic Philip Pearce:


"The First Commandment for any Shakespeare production is “Thou shalt not be boring.” Grainy, dark, violent and sometimes flawed, Paper Wing Theatre’s Macbeth is not boring.

Before the play begins, clouds of stage smoke waft through the theater, signaling that we are not going to watch so much as participate in the prevailing “fog and filthy air.” And participate we do. Director Jourdain Barton never lets us distance ourselves from the gross violence and dark ambition that are at the heart of the story. In three major instances, she even shows us bloody and terrifying events which, in the text and most productions, happen off stage. So it is that, before Jody Gilmore’s wounded sergeant describes Macbeth’s prowess on the battlefield, Patrick Golden and two other cast members I couldn’t identify enact it for us in a heart-stopping opening blood bath of swordplay. Later, during Macbeth’s extended inner struggle over whether or not to murder King Duncan (Jay DeVine), the old king lies asleep in plain view of the audience. Macbeth then enters the room and stabs Duncan in a bloody, flailing, grunting struggle to the death. Like that opening battle, it’s a departure, but it works.


I was challenged, provoked, sometimes irritated and yet strongly impressed by Patrick Golden in the title role. With all that initial blood and death, I was afraid that, like some actors, he was going to play Macbeth as a ranting thug. What is impressive about this sturdy young man is that he understands, or at any rate intuits, that Macbeth is no Mafia dummkopf, but a sensitive and perceptive thinker, a ruthless soldier who nevertheless knows the moral implications of his actions, their dark, eternal dangers to his immortal soul.  Hamlet may waver and hesitate until persuaded at long last to destroy evil in an act of violence. Macbeth is seduced, almost from the opening moments, into creating a spiral of evils, knowing every bloodstained step of the way, exactly what he is doing. Golden is in control of almost everything he decides to do in playing the role. The decisions he makes may sometimes be questionable, but it is impressive to see him make them.

Skilled as he is in embodying all that combat choreography and stage movement (he has wonderful hands), he is at his best in the soliloquies. These are not private ruminations or hair-tearing tirades; he looks us in the eye and shares his tormented moral reflections, as though he were an accused man defending himself in court, and we the jury.

[...] I would hope this young actor continues to steep himself in this and other Shakespeare roles. His debut Macbeth shows a promise that it would be great to see fully realized in the future."

Source: http://performingartsmontereybay.com/theater-reviews/