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Director
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 Though
I appeared as an actor in over three dozen productions before reaching
my majority (2 dozen or as an apprentice at the Cleveland Playhouse
and that city's 3,500 seat Cain Park), my goal was always directing.
Acting, and my eventually becoming a producer, were, in their different
ways, merely adjuncts to that end. Beginning at twenty-one, and
starting with Guy Little's legendary Grand Theater in Sullivan,
Illinois (their first Equity season) and continuing to the State
Theater of Maine at Bowdoin College, I spent ten years directing,
usually, not always, large scale musicals. I wanted to meld jazz
and the lyric theater. It never occurred to me that ten years later,
beginning in the 70's and thereafter, that I'd ever be working again
as an actor, much less as an on and off camera commercial spokesman
selling kiddie clothes, automobiles and brassieres.
 But
after 40 or 50 professional productions, and after directing GUYS
& DOLLS for the third time and most every musical
comedy ever (when I really wanted only to deal with new, original
plays), I returned to other theatrical pursuits, in recent years
directing only my own plays and a full-scale professional production
of WEST SIDE STORY for the Leonard
Bernstein Festival at the University of Massachusetts, utilizing
a 60 piece professional orchestra, I've directed at the Cleveland
Playhouse (Robert Shaw's THE ASSASSIN),
the Brooklyn Academy of Music (PAINT YOUR
WAGON) and the Goodman Theater (GJN
IN REVUE) and am a nearly 30 year, fully paid-up member
of the Society of Stage Directors and Choreographers, i.e., "the
directors union".
 I
studied directing with Jose Quintero (Directors Studio) from whom
I learned a good deal; even more, though, from Jose Ferrer. In a
filed filled with poseurs and mere traffic cops, I love to analyze
plays endlessly, but believe 1.) I owe it to all concerned to "get
the play on it's feet" sooner than later, and, 2.) in any method
[big M or small] which produces fine performances.
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