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INTRO
 
John was a professor, actor, playwright, screenwriter, and stage director for over 20 years performing and producing most of his own work. Now, he has turned his attention to his music.
 
EDUCATION
 
John received his B.F.A. in acting and Theatre from N.Y.U. Tisch School of the Arts Graduate Program, and his M.A. in Educational Theatre from Adelphi University graduating Magna Cum Laude. He attended Dowling College for 2 years before moving to NYU, and there he wont the American College Theatre Festival's Best Actor Nomination for his performance in Eugene O'Neil's "The Hairy Ape".
 
ACTING
 
As an actor John received critical acclaim in The New York Times and Newsday for his two solos -- PERFECTLY NORM-iLL PEOPLE which he wrote, and THE DIARY OF A MADMAN which he adapted from the Gogol Classic and also performed in New York City on Theatre Row. John performed his third solo in Gary Kott's (Producer and writer for the Bill Cosby Show and many others) HIM AND HIS LAST NIGHT OF SANITY at the Grove Street Playhouse in New York City; Kott directed John. In addition to his solo pieces, John performed leading roles in over 50 productions and has received critical praise for his performances in such leading roles as Jerry in THE ZOO STORY, Johnny in FRANKIE AND JOHNNY IN THE CLAIR DE LUNE, and many others.
 
PLAYWRITING & PRODUCTIONS
 
Nine of his plays have been produced, many by him but in other theatres as well: HE AND SHE (Hudson Guild, New York City, 1988), HOMESICK and THE BOX (William Redfield, New York City 1992 and staged readings at the Total Theatre Lab, New York, 1991), DIARY OF A MADMAN (Theatre Row Theatre, New York City). Other productions include: FARMLAND (1989), SNAPSHOT (1989), CHARADE (1990), TOMORROW (1994), PERFECTLY NORM-iLL PEOPLE, PRISONERS IN PARADISE and THE LAMP have received numerous professional readings in New York City. He has directed numerous productions including several of his own works.
 
SCREENWRITING
 
John has written several full-length feature screenplays: TOP STORY, about the media in the 90ís, TIME KEEPER, about John Harrison and Nevil Maskelyne's forty year war over the prize for Longitude in the seventeen hundreds, HOME, a coming-of-age story about a boy growing up in the Depression, MEN'S LIVES about the East End Baymen of LI's fight against huge business and political corruption, WE THE PEOPLE, a high-concept comedy about the Presidency, politics and its dirty laundry.
 
PROFESSOR AND ARTIST-IN-RESIDENCY
 
For 14 years he was the Artist-in-Residence and an Adjunct Professor of Drama at Dowling College where he founded and developed a professional repertory theatre, acting school and laboratory training his actors who then worked in his plays. He founded a New Play Reading Festival featuring distinguished and up-coming playwrights like Gary Kott, Joe Pintauro, Keith T. Fadelici and numerous others, and offered a diverse offering to the community: A Children's Theatre Touring Company, an Improvisation Company, and numerous Symposiums interviewing legendary figures such as: Budd Schulberg, Cliff Robertson, David Newman, and Murray Schisgal. He also taught a full semester of various theatre classes. In 1999 John Co-Produced and acted a leading role in LIES IN LOVE, a full-length independent feature film about following your dreams. 
 
HIS MUSIC

His music offers instrumental guitar pieces he calls Sound Sculptures that are created via jamming and editing from the jam a piece of music capturing the best of the spontaneous creation and also writes songs. His songs explore portraits of people, social commentary, personal experiences, and moments/situations that seem simple enough from the outside but delve into the inner world - such as a woman looking into a mirror but within she is seeing her mortality, struggling with her vanity, and identity or a simple walk in the rain exploring lost love, and trying to come to terms with it, the rain a metaphor for soulful tears of loss and the struggle for re-identification after a loss. His playing style explores the guitar as both a melodic and percussive instrument, allowing the guitar to be interactive between the guitar, the words, and the music/percussion. He uses a variety of styles on an acoustic guitar such as finger picking, strumming and slap guitar techniques working together and to support and interact with the poetry and the story of his songs. There is a dramatic structure to the stories of his songs integrating his long theater training and career with his new discovery of musical performance.

 
He is a member of Actors Equity and The Dramatist Guild.