Two Brothers Review / Podcast, 2017 - 2023
Movie Critic
I recorded a podcast with my brother Reed where we reviewed recent movies. Reed edited and published these podcasts after we recorded them together. I love talking movies with my brother, and hope you have fun listening.
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Wheel of 'Prov / Improv Comedy Show, 2018 - 2020 (New York City)
Co-producer / Co-writer / Improv and Sketch Performer
The Sinclair Siblings (Randall Miller and Kathryn Marie) are at it again! Did their aggressive e-marketing work on you? Let’s hope so, because the taping of the next episode of Wheel of 'Prov, is almost upon us. As usual the Siblings Sinclair would be in big trouble without show runner Todd Bozelstein (Joey Rotter) and cameraman Timmy Radakowski (Ty Turley). This revolutionary game show has improvisers spinning a wheel to determine the form with which their team has to compete for a special prize! (We've done this enough times, you probably know what that prize is already...but if you don't, come to the show and find out what doctors don't want you to know!)
Wheel of 'Prov was a game show parody where three teams spun a wheel that determines what improv long form they have to do right then, on the spot. It combines pre-planned character bits with real improv. Teams can't prepare their form in advance.
I performed long-form improv with my team YTho?, wrote and performed character bits, and co-produced the show. I also designed our logo.
Wheel of 'Prov was a game show parody where three teams spun a wheel that determines what improv long form they have to do right then, on the spot. It combines pre-planned character bits with real improv. Teams can't prepare their form in advance.
I performed long-form improv with my team YTho?, wrote and performed character bits, and co-produced the show. I also designed our logo.
Dating Clarity / Comedy Webisodes, 4 episodes @ 2 minutes each, 2019
Co-director / Director of Photography
I directed this series of webisodes with the writer/actor/co-director Nastasha Strang.
Night Camp / Comedy Variety Show, 2018 (New York City)
Co-producer / Co-writer / Improv and Sketch Performer
At Night Camp, Camp Counselors Katie Barbaro and Ty Turley take you on an adventure back to your summer camp days. This improvised variety show is full of nostalgic camp activities, including an improv set based on telling secrets around the campfire, camper (audience) participation in the talent show, and an immersive arts and crafts experience. Upon entering, each camper receives a nickname, joins fellow campers in either the red or the blue team, and gets a complimentary snack. Make sure your parents drop you off on time! snack. Make sure your parents drop you off on time!
I performed short- and long-form improv, wrote and performed in sketches, did characters, and co-produced the show with Katie Barbaro. I also designed our logo, with input from Katie Barbaro and Laron Turley.
I performed short- and long-form improv, wrote and performed in sketches, did characters, and co-produced the show with Katie Barbaro. I also designed our logo, with input from Katie Barbaro and Laron Turley.
The Toupee Artist / Theatrical Performance, December 2017 (Brooklyn, NY)
Actor
I played the role of the Count in the Bad Neighbour Theatre production of The Toupee Artist, based on the short story by Nikolai Leskov, but developed with the players under the direction of Vyacheslav Komarnitsky. I was a member of the company.
From the director, Vyacheslav Komarnitsky:
Nikolai Leskov’s short story “The Toupee Artist” was inspired by the author’s own childhood memories of serfdom in the province of Oryol, where his family had an estate. The serf theatre troupe of Count Sergei Kamenskii (1771-1834) was one of the most famous of its kind in the Russian Empire. The Count, however, treated his artists much like trained animals. For any failure to memorise lines or blocking, an actor could be flogged backstage by Count Kamenskii and his henchmen, such that the audience would hear.
The story is one of forbidden love between two of the Count’s serfs: hairdresser and makeup artist Arkadii Il’in, and actress Liubov. Their escape attempt and eventual capture. Arkadii’s punishment and pressing into army service. Liubov’s madness. Arkadii’s return as a free man, and sudden death at the hands of a street sweeper. The old serf theatre in ruins. Liubov’s enduring love, and her drunkenness, in order to forget.
As Liubov tells this story beside Arkadii’s grave, we see the shades of the past come to life before us.
From the director, Vyacheslav Komarnitsky:
Nikolai Leskov’s short story “The Toupee Artist” was inspired by the author’s own childhood memories of serfdom in the province of Oryol, where his family had an estate. The serf theatre troupe of Count Sergei Kamenskii (1771-1834) was one of the most famous of its kind in the Russian Empire. The Count, however, treated his artists much like trained animals. For any failure to memorise lines or blocking, an actor could be flogged backstage by Count Kamenskii and his henchmen, such that the audience would hear.
The story is one of forbidden love between two of the Count’s serfs: hairdresser and makeup artist Arkadii Il’in, and actress Liubov. Their escape attempt and eventual capture. Arkadii’s punishment and pressing into army service. Liubov’s madness. Arkadii’s return as a free man, and sudden death at the hands of a street sweeper. The old serf theatre in ruins. Liubov’s enduring love, and her drunkenness, in order to forget.
As Liubov tells this story beside Arkadii’s grave, we see the shades of the past come to life before us.
The Old Woman / Theatrical Performance, April 2017 (Brooklyn, NY)
Actor
I played the role of Sakerdon Mikhailevich in the Bad Neighbour Theatre production of The Old Woman, based on the short story by Daniil Kharms, and developed with the players under the direction of Vyacheslav Komarnitsky. I am a member of the company.
From the director, Vyacheslav Komarnitsky:
Because Kharms has few readers here. Indeed, his readers in Russia are not many, given he has been in print there only since the late Soviet period. And yet, “The Old Woman” is unbelievably relevant to us. All its characters are constantly trying to do something, but never succeed. The writer cannot write, the wizard can do no wizardry, the Old Woman’s appearance is never justified. She doesn’t even manage to die. The encounter with the Young Lady doesn’t go anywhere. Sakerdon Mikhailovich sits at home in idleness. The train conductor next door doesn’t make it past morning tea. And Maria Vasilievna never leaves her communal flat. It’s a vicious cycle, and there’s no way out.
What happens is Kharms’s manner of storytelling itself. Though he begins in the phenomenal world, he takes us deep into mysticism. This production of “The Old Woman” aims to do the same, transitioning from realism into the language of the absurd, clowning, pantomime. The wizard was tall. Possibly in white garments. Barn. Vodka. Moulded bread. Whatever’s cheapest. Tram, cobblestone, roadway. The body of the Old Woman in the suitcase which must be thrown in the swamp. That’s not your nose to throw off the bridge. Clocks without hands, children catching tetanus. An escape attempt, at least from one room to another. So the neighbours don’t notice. Calm. The dead are a badly behaved bunch. The wizard does no wizardry his whole life, and dies. You understand, Sakerdon Mikhailovich, this is a lady of a different sort. Invite her to lunch, get married. Curse it. At least jump onto a tram, and not out the window. Where’s the toilet?
From the director, Vyacheslav Komarnitsky:
Because Kharms has few readers here. Indeed, his readers in Russia are not many, given he has been in print there only since the late Soviet period. And yet, “The Old Woman” is unbelievably relevant to us. All its characters are constantly trying to do something, but never succeed. The writer cannot write, the wizard can do no wizardry, the Old Woman’s appearance is never justified. She doesn’t even manage to die. The encounter with the Young Lady doesn’t go anywhere. Sakerdon Mikhailovich sits at home in idleness. The train conductor next door doesn’t make it past morning tea. And Maria Vasilievna never leaves her communal flat. It’s a vicious cycle, and there’s no way out.
What happens is Kharms’s manner of storytelling itself. Though he begins in the phenomenal world, he takes us deep into mysticism. This production of “The Old Woman” aims to do the same, transitioning from realism into the language of the absurd, clowning, pantomime. The wizard was tall. Possibly in white garments. Barn. Vodka. Moulded bread. Whatever’s cheapest. Tram, cobblestone, roadway. The body of the Old Woman in the suitcase which must be thrown in the swamp. That’s not your nose to throw off the bridge. Clocks without hands, children catching tetanus. An escape attempt, at least from one room to another. So the neighbours don’t notice. Calm. The dead are a badly behaved bunch. The wizard does no wizardry his whole life, and dies. You understand, Sakerdon Mikhailovich, this is a lady of a different sort. Invite her to lunch, get married. Curse it. At least jump onto a tram, and not out the window. Where’s the toilet?