Gaines the Actor

Acting is never a good idea.

ACCOLADES & OTHER NICETIES:

From Chicagocritic.com:
“…a glimpse of what Gaines the actor can do.”
(“Medea” by Jeremy Menekseoglu.)

“The encounter between Electra and the children of Medea (Bil Gaines and Giau Truong) was particularly memorable.”
(“Orestes” by Jeremy Menekseoglu)

From Time Out Chicago:
“…excellent, literally thankless supporting comic work from Gaines as Electra’s disregarded husband, Pamphilos (frankly the best thing in the show).”
(“Electra” by Jeremy Menekseoglu)

From Chicago Theatre Blog:
Mishelle Apalategui’s monstrous glee as Romping Polly and Bil Gaines’ calm and sinister delivery as Conrad are particularly memorable.
(“The Devilish Children & the Civilizing Process” by Jeremy Menekseoglu)

From Joe Boling (indianaauditions.com):
“Although presented as part of a community college arts season, this is not a student production, and it shows. I first saw this script in 2001 when it stopped in Seattle at the head of a ten-month national tour, under Daniel Sullivan’s direction. I subsequently saw it twice more in Seattle, both in 2004, in local productions after the script was released to smaller theaters. After re-reading my commentaries about those productions, I find that my first impression of tonight’s show is proven correct – it is at least the equal of Sullivan’s, and better than the other two.”

“…I also don’t recall ever seeing as believable an explication of Catherine’s motivation for revealing the proof to Hal. He’s not usually a very warm character. In this production, the emotional attraction between him and Cathy is electric and fully credible – you can see why she decides to place herself at his disposal.  Checkmarks to Ryczek for direction, and to Carot and Berk. Double checks to Gaines and Ellingson.”
(“Proof” by David Auburn)

 

 

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