![]() ![]() Film/TV: “A Suitable Boy” (series lead), “Manifest” (recurring), “New Amsterdam,” “Blue Bloods,” “The Blacklist,” “Louie,” “Odd Mom Out,” “Sweet Refuge,” “Bite Me,” Hank and Asha (Napa Valley Film Festival Best Actress, Wild Rose Festival Best Actress, Slamdance Audience winner, Bronze Lens winner), “Law & Order,” “Orange Is the New Black.” Training: Juilliard, SITI, Harold Guskin B.A. Skylight, McCarter Theatre Rafta Rafta, Old Globe Our Town, OSF Monsoon Wedding, Berkeley Rep Bedroom Farce, Huntington Theater Company Inana, Denver Center The Crucible, Cleveland Playhouse Five Mile Lake, McCarter Theatre Comedy of Errors, Hartford Stage, Jesus in India, Magic Theater. ![]() Witherspoon, Playwrights Horizons Clive, The New Group. Off-Broadway: 7 Minutes, Waterwell Here We Are, Theater for One Addressless, Rattlestick Opus, Primary Stages Harper Regan, Atlantic Romeo and Juliet, Public Theater The Winter’s Tale, TFANA When January Feels Like Summer, EST Henry VI, NAATCO Arturo Ui, Classic Stage Company Ms. Film and Television credits include “Bull,” “Elementary,” “Damages,” “Nurse Jackie,” “The Blacklist,” “Madame Secretary,” “The Good Wife,” “Law & Order: SVU,” “Criminal Minds,” “Law & Order: Organized Crime,” the series finale of “The Sopranos,” and the Academy Award-nominated film Frozen River. Regional favorites include Lord Burleigh in Folger Theatre’s production of Mary Stuart, Lukesh in Aurora Theatre’s world-premiere production of This Much I Know, and Amir in multiple productions of Disgraced (Playmakers Rep, Long Wharf Theatre, Huntington Theatre – Connecticut Critics Circle Award for Outstanding Actor in a Play). Off-Broadway favorites include multiple productions with Bedlam Theatre, including Alfred Doolittle in Pygmalion and Giles Corey in The Crucible, York in National Asian American Theatre Company’s Henry VI, as well as productions with Roundabout Theatre Company, Manhattan Theatre Club, and Ensemble Studio Theatre. Just as Stop Making Sense was more than just another live album from just another rock band, American Utopia on Broadway does more than document Byrne's 2018-2019 tour, it stands as a grand and powerful statement of its own from an artist who is as relevant now as he was in his salad days.(he/him/his) is thrilled to be making his Broadway debut. And if American Utopia was thoughtful and whip smart, the Broadway show is thoughtful, whip smart, and fun - an entertainment that doesn't compromise its intellect for its unique brand of showmanship and vice versa. For the show, Byrne also filled out the program with a rich variety of songs from his days with Talking Heads and his solo career, and they enhance the effect of the American Utopia numbers, as well as reminding us that the LP's view of the State of the Union in the Trump era was ultimately one more chapter in a story he's been pondering for decades now. Where the surfaces of the studio album were often cool and dryly ironic, the sweat and fire of a live show is apparent throughout, and Byrne's ensemble is capable of cutting his brand of funk with confidence and élan. Listening to this performance without seeing it puts the material at a certain disadvantage, but this is a significantly more satisfying and pleasurable experience than the American Utopia album was. The tour eventually led to a run on Broadway, and American Utopia on Broadway documents how the show sounded to the patrons who saw it on the Great White Way. Byrne's 2018 album American Utopia fared well with critics, but what really caught the attention of his audience was the tour he mounted in support, in which he performed with a small army of dancers and musicians who were in constant, carefully choreographed movement that changed it from a concert into something truly spectacular. David Byrne may be the most cerebral rock musician of his generation, but unlike most of the artists who follow close behind him, he's someone who understands the physicality of performance and the notion of giving it up for an audience smart and arty as he may be, he understands the age-old concept of giving the audience a show, and he happens to be very good at it. ![]()
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