EDWARD
GERO
EDUCATION
1978-83 CLASSICAL SCENE STUDY, SCRIPT
ANALYSIS AND
VOICE TRAINING WITH ADA BROWN MATHER, FACULTY MEMBER OF THE ROYAL
ACADEMY OF
DRAMATIC ART, THE JULLIARD SCHOOL OF DRAMA AND THE FOUNDER OF
SHAKESPEARE IN
AVIGNON.
1976 B.A. CUM LAUDE
SPEECH
AND
THEATRE CUM LAUDE.
1972 GRADUATED
TEACHING ACTIVITIES
1991-PRESENT
GEORGE MASON
UNIVERITY,
ASSOCIATE PROFESSOR,
DEPARTMENT OF THEATRE
1991-1994:
DIRECTOR OF THE ENSEMBLE: ADMINISTRATION
OF UNDERGRADUATE PRE PROFESSIONAL ACTING PROGRAM (B.A.) DELIVERED
ENTIRELY BY
FIELD PROFESSIONALS. RESPONSIBILITIES INCLUDE SELECTION OF
PARTICIPANTS,
CURRICULUM DEVELOPMENT, STAFF HIRING, TEACHING, ADVISING STUDENTS
CURRENT OFFERINGS
THR 210 ACTING I: BEGINNING
ACTING EXPLORING FUNDAMENTALS OF ACTING; CONCENTRATION, INVOLVEMENT
USING SENSE
MEMORY, EMOTION MEMORY AND CHARACTERIZATION EXERCISES. STUDENTS LEARN
STAGE
VOCABULARY AND DEVELOP PERSONAL ARTISTIC AESTHETIC.
THR 320 ACTING
SHAKESPEARE:
STUDENTS EXAMINE VERSE STRUCTURE FOR
METER, MEANING AND TRANSFORM THAT INFORMATION INTO BOLD THEATRICAL
EXPRESSIONS
IN PERFORMANCE. SCENE STUDY.
THR 350 SCRIPT
ANALYSIS: IN
DEPTH ANALYTICAL TECHNIQUES TO EXPLORE
PROCESS OF DEFINING AND INTERPRETING TEXT FOR PRODUCTION.
THR 365 CHARACTERIZATION:
STUDENTS
EXAMINE
CHARACTER TRAITS AND CHARACTERISTICS IN BUILDING PHYSICAL
CHARACTERIZATION
BASED ON SPECIFIC EXAMPLES DRAWN FROM THEIR LIVES, DREAMS, LITERATURE,
FICTION,
HISTORY AND ART.
THR 420 MODERN
ACTING: IBSEN,
CHEKOV, SHAW: STUDENTS EXPLORE IN SCENE
STUDY THE BREADTH OF THREE MOST
INFLUENTIAL WRITERS IN EARLY MODERN DRAMA.
THR 421 ADVANCED
MODERN
ACTING: SCENE
STUDY
OF AMERICAN MODERN WRITERS UTILIZING EXTENSIVE SCRIPT ANALYSIS BASED ON
CONTEMPORARY ACTING THEORIES OF REALISM.
THR 465 VERSE
SPEAKING:
ADVANCED SEMINAR IN EXPLORING VERSE TEXT
FROM THE MIDDLE AGES TO CONTEMPORARY DRAMA UTILIZING VERSE SPEAKING
TECHNIQUES.
STUDENTS READ PLAYS ALOUD IN CLASS AND DEVELOP FAMILIARITY WITH A
THR 490 SHAKESPEARE
IN
PRODUCTION: STUDENTS
EXPLORE THE ADVANTAGES AND CHALLENGES OF PRODUCING SHAKESPEARE AS
DESCRIBED BY
CURRENT PROFESSIONAL PRACTITIONERS IN DIRECTION, DESIGN, DRAMMATURGY
AND
PERFORMANCE AND APPLY THAT KNOWLEDGE TO TEAM ORIENTED PRESENTATIONS.
(RECENTLY
CONVERTED TO
SYNTHESIS COURSE THR 497 TEXT IN PRODUCTION)
THR 490 AMERICAN
GENRE FILM,
ACTING STYLE, AND AMERICAN CULTURE DURING THE GREAT DEPRESSION,
1929-1941:
INTERDISCIPLINARY COURSE CROSS LISTED
WITH HISTROY EXPLORING POPULAR CULTURE - ESPECIALLY FILM BUT SUCH OTHER
MODES
OF EXPRESSION AS POPULAR NOVELS, RADIO AND PHOTOGRAPHY - IN ORDER TO
BROADEN
OUR KNOWLEDGE OF AMERICAN ACTING TRADITIONS AND CULTURE WE HAVE IGNORED
AND
VOICES WE HAVE NEGLECTED.
PREVIOUS OFFERINGS
ENSEMBLE I, II, III,
IV: SEQUENTIAL
ACTING CLASSES COVERING RANGE
OF CONTEMPORARY AND CLASSICAL ACTING TECHNIQUES UTILIZING EXERCISES,
SCENE STUDY,
JOURNAL WRITING, AND PROJECT DESIGNED TO PREPARE STUDENTS FOR ENTRY
LEVEL
POSITIONS IN THE PROFESSIONAL THEATRE.
ACTING AND DIRECTING
FOR THE
CLASSICAL TEXT:
TEAM
TAUGHT WITH RICK DAVIS FOCUSING ON SPECIFIC PROBLEMS RELATIVE TO THE
CLASSICAL
REPERTOIRE, E.G., SHAKESPEARE, IBSEN, CHEKOV, SHAW.
STYLES OF ACTING I,
II: TWO
SEMESTER SEQUENCE EXPLORING THE
CULTURAL, SOCIAL, HISTORICAL AND PSYCHOLOGICAL INFLUENCES THAT
DETERMINE AND
INFLUENCE PERIOD ACTING STYLES AND TEXTS. LECTURE,
EXERCISES
AND SCENE STUDY GREEKS, MEDIEVAL, RENAISSANCE, RESTORATION, MELODRAMA,
NATURALISM, REALISM AND ABSURD.
MUSICAL THEATRE
WORKSHOP:
ACTING COACH FOR GRADUATE LEVEL WORKSHOP
TEAM TAUGHT WITH DANCE, MUSIC, AND VOCAL FACULTY CULMINATING IN FORMAL
PUBLIC
PERFORMANCE
COURSE INSTRUCTION, SHAKESPEARE
THEATRE
PRESENT:
THE
CURRENT OFFERINGS
TEXT ANALYSIS: ADVANCED TECHNIQUES FOR
GRADUATE
CANDIDATES OF IDENTIFYING VERSE STRUCTURE AND ITS RELATION TO ACTING
CHOICES. TABLE WORK AND SCENE STUDY.
SHAKESPEARE THEATER
MASTER
ACTING CLASSES
BEGINNING
SHAKESPEARE: BEGINNING
SCENE STUDY DESIGNED TO CREAT A
SENSE OF RELAXATION AND COMFORT IN SPEAKING AND ACTING WITH SIZE AND
BELIEVABILTY. SCENE STUDY.
ADVANCED
SHAKESPEARE: ADVANCED
SCENE WORK DRAWN EXCLUSIVELY FROM
THE SHAKESPEARE CANON FOCUSING ON THE MAKING OF DIALOGUE, ACTIVE
LISTENING,
PHRASING AND BREATH.
AUDITION TECHNIQUE: EXAMINING THE DIFFERENCES
BETWEEN
PERFORMANCE AND AUDITIONING WITH PARTICULAR ATTENTION TO MONOLOGUE
SELECTION
AND APPROACH TO CHOICE MAKING.
SHAKESPEARE AND
OPERA: TEXT
ANALYSIS AND SCENE STUDY OF OPERATIC
SETTING OF SHAKESPEARE FOR GRADUATE OPERA STUDENTS,
PREVIOUS OFFERINGS
THE GREEKS AND
SHAKESPEARE:
SCENE STUDY COMPARING AND CONTRASTING
GREEK DRAMA AND SHAKESPEARE WITH EMPHASIS ON INTEGRATION OF TEXT
ANALYSIS,
VERSE SPEAKING, PHYSICAL STYLE. INCLUDES MASK
WORK, CHORAL
SPEAKING AND MONOLOGUES.
FUNDAMENTALS OF
ACTING: IN
DEPTH INTRODUCTION TO BASIC SKILLS AND
TECHNIQUES UTILIZING EXERCISES AND SCENE STUDY FROM THE CONTEMPORARY
REPERTOIRE.
PROFESSIONAL ACTIVITY
THEATRE
UNDERLINE INDICATES
HELEN HAYES
AWARD; BOLD INDICATES HELEN HAYES AWARD NOMINATION
PRODUCTION
ROLE
DIRECTOR
2006
|
KING LEAR (GOODMAN THEATER)
|
GLOUCESTER |
ROBERT FALLS |
2005 |
THE DISPUTATIONS (THEATER J) |
PABLO CHRISTIANI |
NICK OLCOTT |
|
2005 |
AFTERPLAY (STUDIO THEATRE) |
ANDRE |
JOY ZINOMAN |
|
|
ROMEO AND JULIET (FOLGER
THEATER) |
FRIAR LAURENCE |
PJ PAPARELLI |
|
2002 |
THE DIARIES (SIGNATURE THEATRE) |
STEFAN ALTSANGER |
PJ PAPPARELLI |
|
2001 |
THE RIDE DOWN MT. MORGAN (THEATRE J) |
LYMAN FELT |
LEIGH SILVERMAN |
|
2000 |
BASH: LATTER DAY PLAYS (STUDIO THEATRE) |
MAN |
JOY ZINOMAN |
|
1999 |
NIXON’S NIXON (ROUNDHOUSE THEATRE) |
RICHARD NIXON |
BILL FOELLER |
|
1998 |
DR. FAUSTUS (TFA) |
DR. FAUSTUS |
RICK DAVIS |
|
1997 |
SKYLIGHT (STUDIO THEATRE) |
TOM SARGEANT |
JOY ZINOMAN |
|
|
ROMEO AND JULIET (OLNEY THEATRE) |
CAPULET |
JIM PETOSA |
|
1996 |
BROKEN GLASS (OLNEY THEATRE) |
PHILIP GELLBURG |
JIM PETOSA |
|
1995 |
THREE SISTERS (STUDIO THEATRE) |
VERSHENIN |
JOY ZINOMAN |
|
|
WHAT THE BUTLER SAW (ARENA STAGE) |
SARGEANT MATCH |
JOE DOWLING |
|
|
CONVERSATIONS WITH MY FATHER (STUDIO THEATRE) |
CHARLIE |
JACK GOING |
SHAKESPEARE THEATRE AT THE FOLGER /
LANSBURGH
1983-PRESENT: 58 PRODUCTIONS
2007 |
RICHARD III |
BUCKINGHAM |
MICHAEL KAHN |
|
2004 |
HENRY IV, PART I |
|
BILL ALEXANDER |
|
|
HENRY IV, PART II |
LORD CHIEF JUSTICE |
BILL ALEXANDER |
|
2003 |
MIDSUMMER NIGHT’S DREAM |
EGEUS / PETER QUINCE |
MARK LAMOS |
|
|
THE RIVALS |
DAVID |
KEITH BAXTER |
|
|
HAMLET |
GHOST/ PLAYR KING |
GALE EDWARDS |
|
|
RICHARD III |
KING EDWARD IV |
GALE EDWARDS |
|
2002 |
ROMEO AND JULIET |
CAPULET |
RACHEL KAVANAUGH |
|
|
DUCHESS OF MALFI (With KELLY McGILLIS) |
CARDINAL |
MICHAEL KAHN |
|
2001 |
HAMLET |
GHOST / PLAYER KING |
GALE EDWARDS |
|
2000 |
DON CARLOS |
COUNT LERMA |
MICHAEL KAHN |
|
1999 |
KING JOHN |
THE BASTARD |
MICHAEL KAHN |
|
1998 |
PEER GYNT |
STRANGE PASSENGER |
MICHAEL KAHN |
|
|
THE MERRY WIVES OF WINDSOR |
MASTER PAGE |
DANIEL FISH |
|
1997 |
ALL’S WELL THAT ENDS WELL |
PAROLLES |
LAIRD WILLIAMS |
|
1996 |
ANTONY AND CLEOPATRA |
ENOBARBUS |
RON DANIELS |
|
|
HENRY VI |
DUKE OF YORK |
MICHAEL KAHN |
|
1995 |
MACBETH (With STACY KEACH) |
BANQUO |
JOE DOWLING |
|
1994 |
HENRY IV |
HOTSPUR |
MICHAEL KAHN |
|
|
COMEDY OF ERRORS |
DUKE SOLINUS |
JOHN RETALLICK |
|
1993 |
JULIUS CAESAR |
LIGARIUS / MESSALA |
JOE DOWLING |
|
|
RICHARD II (With RICHARD THOMAS) |
BOLINGBROKE |
MICHAEL KAHN |
|
|
MUCH ADO ABOUT NOTHING (With DAVID BIRNEY) |
DON JOHN |
MICHAEL KAHN |
|
1992 |
AS YOU LIKE IT (With SABRINA LA BEAUF) |
OLIVER |
MICHAEL KAHN |
|
|
MUCH ADO ABOUT NOTHING (With KELLY McGILLIS) |
DON JOHN |
MICHAEL KAHN |
|
1991 |
SAINT JOAN |
DUNOIS |
SARAH PIA ANDERSON |
|
|
CORIOLANUS (With BRADLEY WHITFORD) |
AUFIDIUS |
BILL GASKILL |
|
|
KING LEAR (With FRITZ WEAVER) |
CORNWALL |
MICHAEL KAHN |
|
|
FUENTE OVEJUNA (With JOSIE DE GUZMAN) |
COMMANDER |
RENE BUCH |
|
1990 |
RICHARD III |
DUKE OF CLARENCE |
MICHAEL KAHN |
|
|
THE MERRY WIVES OF WINDSOR (With PAT CARROLL) |
MASTER FORD |
MICHAEL KAHN |
|
|
MARY STUART |
LEICESTER |
SARAH PIA ANDERSON |
|
1989 |
THE TEMPEST |
ANTONIO |
RICHARD E.T. WHITE |
|
|
TWELFTH NIGHT (With KELLY McGILLIS) |
CURIO |
MICHAEL KAHN |
|
|
AS YOU LIKE IT |
OLIVER |
MICHAEL KAHN |
|
|
THE BEGGAR’S OPERA |
MACHEATH |
GENE LESSOR |
|
1988 |
RICHARD II |
BOLINGBROKE |
TOBY ROBERTSON |
|
|
|
POMPEY / DOLLABELLA |
MICHAEL KAHN |
|
|
MERCHANT OF |
GRATIANO |
MICHAEL LANGHAM |
|
|
MACBETH |
MACDUFF |
MICHAEL KAHN |
|
1987 |
ALL’S WELL THAT ENDS WELL |
DUMAINE |
MICHAEL KAHN |
|
|
THE WITCH OF |
CLARINGTON |
BARRY KYLE |
|
|
LOVE’S LABOUR’S LOST |
|
PAUL GIOVANNI |
|
|
THE WINTER’S TALE |
POLIXENES |
MICHAEL KAHN |
|
1986 |
MANDRAGOLA |
LIGURIO |
PETER MALONEY |
|
|
ROMEO AND JULIET |
TYBALT |
MICHAEL KAHN |
|
|
TWELFTH NIGHT |
ORSINO |
GAVIN CAMERON WEBB |
|
|
THE MISER |
LA FLECHE |
JACK GOING |
|
|
THE CHERRY ORCHARD |
TROFIMOV |
JOHN NEVILLE-ANDREWS |
|
1985 |
THE MERRY WIVES OF |
MISTRESS QUICKLY |
JOHN NEVILLE-ANDREWS |
|
|
OTHELLO |
CASSIO |
MIKEL LAMBERT |
|
|
MIDSUMMER NIGHT’S DREAM |
OBERON |
JOHN NEVILLE-ANDREWS |
|
|
HAMLET |
GUILDENSTERN |
LINDSAY ANDERSON |
|
|
MUCH |
DON JOHN |
JOHN NEVILLE-ANDREWS |
|
1984 |
CROSSED WORDS |
SON |
DAVEY MARLIN-JONES |
|
|
KING LEAR |
EDMUND |
JOHN NEVILLE-ANDREWS |
|
|
HENRY V |
KING HENRY |
PHILLIP KERR |
|
|
MAYOR OF ZALAMEA |
SARGEANT |
MICHAEL BOGDONOV |
|
1983 |
CINDERELLA |
DASH |
JOHN NEVILLE-ANDREWS |
|
|
TROILUS AND CRESSIDA |
DIOMEDES |
JOHN NEVILLE-ANREWS |
IN RESIDENCE AT
GEORGE MASON
UNIVERSITY 1981-82
|
1982 |
MATCHAMAKER (GMU) |
AMBROSE KEMPER |
REX PARTINGTON |
|
|
HEDDA GABLER (GMU) |
EILERT LOVBORG |
PAUL BERMAN |
|
|
YOU CAN'T TAKE IT WITH YOU |
TONY KIRBY |
TOM GRUENEWALD |
|
|
HEDDA GABLER |
EILERT LOVBORG |
PAUL BERMAN |
|
1982 |
LOVE'S LABOUR'S LOST |
KING OF |
|
|
|
DEATHTRAP (GMU) |
CLIFFORD |
JOHN OLON |
|
|
THE CORN IS GREEN (GMU) |
MORGAN EVANS |
REX PARTINGTON |
|
|
DEATHTRAP |
CLIFFORD |
JOHN OLON |
|
1981 |
ARMS AND THE MAN |
SERGIUS SARANOFF |
|
OFF-OFF BROADWAY
|
|
CECE (PIRANDELLO) |
CECE (ENGLISH PREMIERE) |
TEATRO RINASCIMENTO |
|
|
THE POSSESSED |
STAVROGIN |
SOUTH STREET THEATRE |
|
|
FALLEN ANGELS |
MAURICE DUCLOS |
|
|
|
|
LEADING MAN |
|
|
|
THE CHERRY ORCHARD |
TROFIMOV |
18TH STREET THEATRE |
|
|
THE GAMBLERS |
OOTESH |
DRAMA COMMITTEE |
|
|
DON JUAN IN HELL |
DON JUAN |
DRAMA COMMITTEE |
|
|
GETTING MARRIED |
HUSBAND |
DRAMA COMMITTEE |
|
|
CAFE |
JOEY |
PERFORMANCE SPACE |
NEW DRAMATISTS,
FORUM OF
ITALIAN AMERICAN PLAYWRIGHTS
(various new plays including Memorial with Rachel Roberts)
OTHER
THE PAGE TO STAGE NEW PLAY FESTIVAL:
FIRST LIGHT FESTIVAL, TFA
CLASSICS
REDISCOVERED SERIES:
SHAKESPEARE THEATRE
FREE LANCE CREDITS
1977 - 1979
|
1979 |
THE KING AND I |
KRALAHOME |
THEATRE-BY-THE-SEA |
|
|
SHENANDOAH |
SAM |
THEATRE-BY-THE-SEA |
|
|
THE FANTASTICKS |
EL GALLO |
THEATRE-BY-THE-SEA |
CHILDREN'S
THEATRE
|
1978 |
DISCOELLA |
PRINCE CHARMING |
PIXIE JUDY, INC. |
|
|
PINOCCHIO |
GEPPETTO |
THEATRE-BY-THE-SEA |
OFF
BROADWAY
CLASSIC
STAGE
COMPANY REPERTORY: 1975 - 1976
|
1976 |
TARTUFFE |
DAMIS |
CHRISTOPHER MARTIN |
|
|
SCHOOL FOR BUFFOONS |
ENSEMBLE |
CHRISTOPHER MARTIN |
|
|
ANTIGONE |
FIRST GUARD |
CHRISTOPEHR MARTIN |
|
|
MEASURE FOR MEASURE |
BARNARDINE |
CHRISTOPHER MARTIN |
|
|
LA CELESTINA |
ENSEMBLE |
RENE BUCH |
|
1975 |
PLATANOV |
YAKOV |
STUART VAUGHAN |
FILM AND TELEVISION
|
2001 |
THE GREAT SERENGHETI MIGRATION |
NARRATOR |
DISCOVERY CHANNEL |
|
|
JACK THE RIPPER |
NARRATOR |
DISCOVERY CHANNEL |
|
|
OBIJI CORAL REEFS |
NARRATOR |
DISCOVERY CHANNEL |
|
2000 |
|
NARRATOR |
DISCOVERY CHANNEL |
|
|
THE LAST TUSKER |
NARRATOR |
DISCOVERY CHANNEL |
|
|
WOMEN IN THE RING |
NARRATOR |
DISCOVERY CHANNEL |
|
1994 |
COVER TO COVER |
NARRATOR |
PBS |
|
1992 |
STRIKING DISTANCE |
OFFICER LUFFY |
|
|
1990 |
DIE HARD 2: DIE HARDER |
ENGINEER |
20TH CENTURY FOX |
|
1989 |
GOING UP |
ELISHA OTIS |
PBS |
|
|
APOLLO TO THE STARS |
NARRATOR |
GENE RODDENBERY: PBS |
|
1983 |
GUIDING LIGHT |
REPORTER |
CBS |
DIRECTING (ACADEMIC AND PROFESSIONAL)
2004 IL BARBIERE
DI SIVIGLIA MARYLAND OPERA STUDIO
2003 THE LADY'S NOT FOR BURNING GMU
PLAYERS
1996 GUYS AND DOLLS GMU PLAYERS
1994 TWO GENTLEMEN OF
THE FIREBIRD GMU
ENSEMBLE/ALEXANDRIA SYMPHONY
1993 TWO GENTLEMEN OF
GREAT TRIAL SCENES
TFA/FAIRFAX
ART FESTIVAL
1992 FACES: LIVING NEWSPAPER
READING TFA
1991 HOUSE OF BLUE LEAVES GMU
PLAYERS
CONCERT APPEARANCES
|
1999 |
KING DAVID, HONNEGAR |
NARRATOR |
|
|
1997 |
SHAKESPEARE AND SYMPHONY |
NARRATOR |
|
|
1994 |
BEETHOVAN: EGMONT OVERTURE |
NARRATOR |
CARAMOOR MUSIC FESTIVAL: ORCHESTRA OF ST. LUKE'S, JULIUS RUDELL, CONDUCTING |
|
|
STRAVINSKY: FIREBIRD |
NARRATOR |
|
|
|