Friday, January 22, 2010

My brother James and his wife, Natalie are soon to journey to China to adopt their second child, Ian Panwei!! Follow the story of their travels HERE!

Wednesday, January 13, 2010


To purchase tickets, click HERE!

Potomac Stages Wraps it Up.

Potomac Stages, one of the only websites to exclusively cover theatre in the DC Metro area has announced that as of January 1st, it will cease publication of it's website. I am a little bit late to the party on this, but just found out this morning. Such sad news. First Washington Theatre Review ceased their publication of their fabulous quarterly magazine, and then went to strictly online format, then ceased altogether. Now no more Potomac Stages. The only remaining website strictly devoted to theatre in our area is DC Theatre Scene, which is a link on the right.

I feel that the gang over at Potomac Stages has always been fair and even handed, along with being VERY supportive of this areas smaller theatres as well as all of the giants. They have always treated me well, and said wonderful things about me, for which I am always grateful.

Their website will be sorely missed, and it makes me sad that one more voice out there advocating local theatre has gone quiet. But thanks to them all for many (8) years of wonderful coverage of this amazing city's theatre scene.

There is a "wrap-up" article posted on their website which summarizes their favorite productions over the years. I am extremely touched to have been mentioned in this wrap up regarding tick,tick...BOOM! at Metro Stage. Read the full article HERE.

Hats off, Potomac Stages. Many thanks and best wishes for the future.



Sunday, January 10, 2010

HIFI - Rehearsal Blog - Part 1; DCAC Revisted

I started rehearsal at the DC Arts Center Saturday for High Fidelity. While I am totally psyched for this show, yesterday morning was in a way a small reunion for me.

In 1996, I performed in what would be my first ever performance as an actor in DC at the DCAC with Cherry Red Production's Christmas Spectacular. I was a freshman in college at Shenandoah University, and saw the audition notice in the paper. I went, not expecting to get in, and did, which led me to wonder how the hell I was going to pull off the rehearsal schedule and performance schedule while balancing my class schedule, which was bringing me to mid term exam time.
My experience with Cherry Red on that particular show is one that I will never forget. The plays, true to Cherry Red style, were ridiculously bizarre and funny. My favorite of the three sketches offered in the evening was "The Birth of Christ, and farts", in which a Christmas Pageant depicting the Nativity scene was reenacted (and we were directed to yawn, scratch, and other wise look totally uninvested and bored) as a recording of the Mormon Tabernacle Choir sung in the background, except every once in awhile the soundtrack would cut off and a fart sound effect would play. These farts became more frequent as the sketch went on. The audience was tentative with laughter at first, but by the end was scream laughing with each toot. I will never forget that as long as I live. One of the most juvenile, yet hysterical things that I have ever been involved with on a stage. I played a sheep, with gym socks over my ears as a costume.
Fast forward 14 years, and I was walking down the alley behind the DCAC, approaching the stage door. Greeted by a dead rat that was frozen into the alley, I had a rush of memories back to those old days there at the DCAC. The rats used to be so bad out tin that alley that I would name them as they ran by. They were as big as my dog.
I walked into the back stage dressing room area and again, not having been in there for 14 years, remembered all of the actors stuffed into the small dressing areas, laughing and shooting the breeze while being as tight as sardines in a can at their various dressing stations. I walked through to the stage, and it was even smaller than I remembered it. I laughed as I looked around, taking it all in and drudging up those bygone memories of the last time I was there.
So strange. It was like walking into a random memory that I had not thought of in forever.
So much has changed since the last time I was on that stage. I was an 18 year old boy then. I am now a 31 year old, almost 32 year old man. Wow. Chew on that for a second.
Total time warp.
The day started with a meet and greet with the lovely cast and a read through. It went very well, and the script is hysterical and poignant. The actors were ideally cast in their roles. It looks to be a fantastic of a show that never really got a fair shake. The show ran on Broadway for about a week, and then closed. After doing a read of the script, I think that it was never meant to be a huge Broadway show. It was meant to be an Off-Broadway show, or to be done in a small intimate house. And well, it doesn't get much more intimate than the DCAC. I think that it seats about 45 total, so anyone who wants to come and see it will see a totally intimate production, where none of the actors will ever be more than 10 feet from you.
I will continually give you updates on the rehearsal process, and pass along any further information as the show rehearses, techs and opens. I am excited about this show, and excited to spend some time in Adams Morgan, a truly unique and diverse DC neighborhood.
More to come!

Happy Birthday, Matt!

Matt turns 40 today. Happy Birthday, Matt!!!

Saturday, January 09, 2010

NEXT UP: High Fidelity at DCAC

My next project that I am working on is High Fidelity a Musical at DCAC, produced by Landless Theatre Company. It runs from February 18th to March 14th at the DCAC in Adams Morgan. For ticket information, please visit:

The Year in Photos - 2009.





(Photos by Mark Ramont)










Tuesday, January 05, 2010


The Washington Post has voted Signature Theatre's 110 in the Shade from 2003 in the "Best Theatre of the Decade".

Also, Studio Theatre's Adding Machine: A Musical made the list of "Best of 2009"!
It also made the "Highlights of 2009" over at the City Paper!

2009 - On The Stage.

The year began as the last one ended - with Les Miserables at Signature Theatre. The show was a huge success, and very rewarding to do. The family of people working on it was like none that I had ever experienced, and I treasured every moment of it.

We went on to win many awards at the Helen Hayes Awards this year, including "Outstanding Ensemble" and "Best Musical". It was a truly amazing experience.
I went directly into the next show from Les Miserables, which was The Civil War at Ford's Theatre. This show was a pleasure to work on from the start, and ended up being one of the most fun experiences that I have ever had in the theatre. From the cast to the show, it was a sheer delight to perform every night.

In July, I had several things going on. First was my third 6th cabaret at Signature, entitled "The Stephen Gregory Smith Show", which mimicked the Ellen show in format and style. I had about 10 guests come up and sing with me throughout the evening. While it ran a little bit long, it was a fantastic evening of songs and duets that I am very proud of, and very thankful to all of my friends for appearing in with me!

Also in July I started a 3 week workshop process at Signature called "21/24". Two pieces were workshopped different casts of actors. The tow pieces were "The Boy Detective Fails" by by Adam Gwon and Joe Meno, and "The Hollow" by Matt Conner and Hunter Foster. I appeared in the former.

The experience was like theatre summer camp, and was so fun for all of us. Joe Calarco directed The Boy Detective, while Eric Schaeffer directed The Hollow. The Boy Detective is based on Joe Meno's novel of the same name, and concerns a thirty year old former boy detective named Billy Argo. I treasured playing Billy Argo, and this character has become one of my favorites that I have ever tackled.

It was one of my favorite roles I have ever attempted, and I truly hope that Billy Argo comes around again. Only time will tell.

My last full production of the year was at Studio Theatre, in the show Adding Machine: A Musical. This strange little show was the little engine that could. With hardly any set, a minimal costume and lighting plot, and a score harder than any I have ever worked on, this piece is one that I will always hold close to my heart.

I also got to meet and work with David Benoit, who was a pure delight. I valued my time with him so much!

Adding Machine: A Musical was listed in the "Best Of 2009" by both the Washington Post and The City Paper. I am so proud of our little engine that could. It was one hell of a ride.

And as you can see from my earlier posts, I ended the year with the Swinging Santas Cabaret at Signature. So a busy year, all in all. I am so grateful and thankful to all of the people who were a part of all of these experiences. And also thankful to anyone who cared enough to come and see them.
I hope everyone had a happy and safe New Year!