Bridget Connors

 Bridget Connors

Bridget is a joy to direct, investing all of herself in her work and seamlessly weaving together a flawless technique – voice, diction, physical work – and the emotional and intellectual architecture of the role she plays into a perfect whole.

She has a terrific work ethic and she is a perfect lady. During a couple of seasons she was in New York, while completing her training as a Voice Coach in the Linklater method. This equipped her with the skills to be a very fine text coach.

From J. T. Rogers’ White People to Lady Macbeth in Shakespeare’s Macbeth (pictured), she has created an unforgettable gallery of portraits.

Kimberly Daniel

Kimberly Daniel

Kimberly is the quintessential team player, always believing in and practicing the belief that you must love theatre in you, and not the other way around.

Kimberly is my wife.  We have done many plays and operas together. We also sung and acted together. In each of these instances she has been a consummate professional, an exemplary colleague, a wonderful artist – too humble to fully recognize her own worth.

It is said that theatre is ephemeral – here today, gone tomorrow. Kimberly’s acting stays in one’s memory. Her Nurse (pictured) in Romeo and Juliet did just that.

Steve Gladstone

Steve Gladstone

Steve made an impressive debut at New Theatre in the central role of the blind writer – inspired by the blind Argentine poet Jorge Luis Borges – in Mario Diament’s Blind Date. Steve is sightless, yet this was the first blind role he had ever done on stage. It took both of us barely one rehearsal to learn the rules of engagement  that involve the directing of a sightless actor.

 We followed that up with The Merchant of Venice (pictured) in which he played a brilliant Shylock, Romeo and Juliet (the Prologue and the Prince), and Macbeth (Duncan.)

In each instance, working with Steve went beyond an artistic experience and became a lesson about courage, the power of the mind, and the indomitable nature of the human spirit.


Sally Levin 

Sally was fretful about negotiating her final entrance in the last scene of O’Neill’s Long Day’s Journey…as the morphine-addled phantom-matriarch Mary Tyrone, down a narrow staircase, wearing a ragged wedding dress. I got her to carry it instead, holding the bundled-up dress in her arms, as if it were the long-lost baby she had lost years ago. 

She descended the steps, as the Tyrone men sat around a table in a drunken stupor. She then crossed to a creaking rocking chair and sat on it, rocking back and forth to her final lines “That was the year I married James Tyrone, and I was so happy for a while…”

What Sally did with that scene stays in my memory as my all-time most emotion-packed moment in the theatre: a truly grand actress and lovely human being doing sublimely honest acting.

Lisa Morgan in THE WEIR

Lisa Morgan

Lisa always is an exciting talent to have in any cast. She is a quirky, fun and fastidious actress, with a wonderful range that encompasses comic and the tragic. And she is a true free spirit.

Pictured here in Connor McPherson’s The Weir, she moved back to London in 1995 to pursue her acting career. In 1997 Lisa telephoned me from England and asked if she were she to come back to Miami would there be anything for her at New Theatre.  I said yes and cast her in play after play.

Lisa is now one of the busiest actors in the region, having worked in and for just about every theatre worth her time, to which she returns season after season.

Barbara Sloan

Barbara Sloan

Barbara is one of those actors who make acting seem easy. Completely relaxed in any of the roles she undertakes,  she does not appear to be acting at all.

Barbara’s trained as a dancer. She moves like one, using her body in a very expressive manner. But her special quality is a humanity which radiates in roles of vulnerable, valiant, vibrant women such as the damaged-goods mother of the victim of a hate crime in Michael McKeever’s A Town Like Irving (pictured.)

It speaks volumes about Barbara that playwrights Mario Diament and Michael McKeever both rate her right at the top of their lists of favorite actresses. And mine.

David Kwiat

David Kwiat

A muscular and proverbial character actor in love with big choices, David can wrap his expressive face and his stentorian voice around the hugeness of Tony Kushner’s Roy Cohn and yet scale down his technique to take on the miniature work required by O’Neill in the elegiac final scenes of A Moon for the Misbegotten.

A published poet and teacher, David’s acting is both poetic and an acting lesson all in one.

Pictured here is David in the role of Jacob, a Yiddish-language actor and holocaust survivor in Mario Diament’s Smithereens.

Matthew Wright 

Matthew Wright 

Matthew is an actor’s actor with a solid technique, matinee idol looks, and a superb range.

He was able to brilliantly pull-off the dead-pan goofiness of Around the World… with the same aplomb with which he played the bottled up angst of Uncle Peck in Paula Vogel’s How I Learned to Drive.  His take on the twin brothers in Love! Valour! Compassion! was a memorable acting tour de force, his whisky-soaked Irishman in The Weir both subtle and poignant. His Prior in Angels in America managed to evenly mine both the pathos and the humor inherent in the role.

Claudius in Hamlet (pictured here) was his last role at New Theatre. It was a fitting farewell from a superb young artist at the top of his game.


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