Cell Phone: 253-335-0727
Images: 4 Images Online
- Age Range: 20 - 30
- Eyes: Hazel
- Hair: Dark Brown
- Height: 5' 10.5"
THE ART OF ABD MEN
THE ART OF BAD MEN REVIEWS
THE SEATTLE STAR
~The Art of Bad Men is that rare “traditional” theatrical production that does not shy away from its intelligence, its darker impulses, nor its conflicting emotions. It simply tells its straightforward story while sticking to its convictions. Combined with MAP’s name-your-own-ticket-price policy, Bad Men delivers a pure theatrical experience as refreshing as a breath of fresh air.
~ Of course, Delaney is abetted in delivering this play by the exemplary troupe that MAP — a company with only four productions under its belt, each marked by its ambition — has put together.
~ The actors are rock solid in their portrayals of these characters and the Direction, by Kelly Kitchens, is flawless. She is extraordinarily effective at keeping everything proportionate to these commonplace characters in an anything but commonplace circumstance.
~With the acting and directing so authentic, it felt like we were seeing each of these stories enacted, but not “acted”. The end result was powerful and moving. We are two or even three generations removed from those who suffered World War II, but nothing will ever erase the way those events changed the world and everyone who lived in it. “The Art of Bad Men” is a theatrical triumph that feels like a late night conversation with an ancestor who has come back to tell us his story. Don’t miss this show.
DRAMA IN THE HOOD
~ Brandon Ryan and Peggy Gannon, MAP co-producers, both shine in important roles: Ryan as the hapless guard Harvey, who enables the prisoners’ comings and goings beyond the fence; Gannon as Emma, Kurt’s immigrant sister, who refrains from enabling her delusional brother, finding and offering a surrogate family to young Franz.
~ In the intimate setting of InSpace, with little more than hay bales and barb wire to set the scene, MAP Theater does again what it seems to do best: choose great scripts, draw together some of the best local talent, and deliver the goods at a very reasonable price.
SOFT CLICK OF A SWITCH REVIEWS
~It's the acting that gets at the vulnerability behind the lunacy. Both Brandon Ryan as Ed and Mark Fullerton as Earl embody the pain that has driven them to the point of no return. They also uncover the desperate need to connect with somebody for fear of flying completely off the rails. Ryan typically has an easy way about his performances that belies the level of difficulty in the roles he chooses, and here he turns in similarly intriguing work with Ed. We root for both of these losers despite ourselves, because they are humane in their own very specific ways.
~Brandon Ryan portrayed Ed as the classic misfit, a boy-man who wants the world to recognize him for something, even if it's something bad. The best thing about this characterization was that he never made Ed too crazy, never stable but never out of control, either. This was one of those roles that you're not going to get in the first few minutes of the play, or ever if you're not paying close attention. Ed is a guy who is always overlooked, especially by those who don't realize that he is always looking at them. He wants to do something big, but not so he can be famous, just so that he can have some affirmation that he exists, that he has done something. Ryan was funny, quirky, sincere and doubting, needy but alienated, distrusting love to the same extent that he desperately wants it, that weird guy you hope won't sit next to you on the bus.
~"Soft Click of a Switch" is just the sort of show MAP Theatre should be doing, with its complex theatricality, obscure but familiar characters and unusual dramatic structure. For a show where so much depends on the acting, we never had the feeling that either of these actors were working too hard. Handsomely staged at the West of Lenin theatre, this small-scale production is quite a substantial achievement.
~Indeed, there is much chemistry between Ryan and Fullerton in their respective roles. Ryan is both hardened and vulnerable at the same time; his energy is high-strung, twitchy, and restless just as it should be. Fullerton, on the other hand, is slower-paced, calculating and exact; he comes across as a very cerebral functional alcoholic, one who has lived a hard life and who sees clearly the sad and empty world that surrounds him.
So, part of the "showing" that the director does is to let these two skilled actors work their magic, allowing them to build a camaraderie that in many ways becomes a love story between the characters.
~And this is the perfect counterpart to the manic, unbalanced nature put forth by Ryan. The two play off each other perfectly as a kind of sociopathic Abbott and Costello and deliver some incredibly meaty and engaging performances. And the thing I love about Ryan's performance is that even though he's portraying this in your face kind of madman, the performance is kind of effortless and never forced.
DRAMA IN THE HOOD
~Played brilliantly by Brandon Ryan, Ed is a young 20 something, seemingly unemployed, who when not drinking and philosophizing about life and art, spends most of his time standing on a chair in his apartment looking through a peep-hole not only observing a couple in the next apartment, but deeply involved in his fantasy about their lives.
~Very few actors or directors would have been able to bring this difficult play to life, it is well worth seeing.
~The two actors play their roles with just the right push/pull, sanity and madness, hope and depression. They are perfectly cast to play off each other, and they do it so very well. The power of friendship! Alone neither man could move beyond inertia. Together they are explosive. It’s rather frightening.
“This play does more than intimately explain how people unravel. (And the actors unravel soooo well.) The audience ends up feeling for these characters. Like them. Love them, even. Or be disturbed by them. Whatever the reaction, the feelings are … powerful. Visceral. Real.”
SEATTLE GAY NEWS
“This is a powerfully performed exploration of the inside of a relationship. It is an opportunity to probe people we might never want meet from the safety of our theater seats.”
A BEHANDING IN SPOKANE:
THE SEATTLE GAY SCENE:
But, the juiciest performance of the night belongs to Brandon Ryan and his quirky take on a character that was already pretty quirky to start with. His Mervyn is a slacker loser stuck in a crappy job in a crappy town and while Mervyn seems a bit resigned to his fate, he’s also curious to see and experience other aspects of life, even if that means risking his own life. The character is foolishly fearless but the performance never is…Mr. Ryan is known for his bigger than life performances, which on occasion have gotten a bit out of hand, but here he is perfectly cast and exquisitely directed in text he was born to interpret. And, while the kookier lines and situations are obviously right up his alley, Mr. Ryan is equally at home with the smaller, quieter moments in the play as he reveals the tenderness and essential loneliness of the character. Good acting is all about interpreting the subtext of the material and playing those underlying motifs and emotions within the larger context of the play. Mr. Ryan’s performance indicates he is fully aware of that subtext and the subtle charm and warmth of the performance are grounded in his interpretation. It’s a must not miss performance in solidly entertaining production.
~But it was Ryan who completely walks off with the show with his understated and damaged comic relief. In fact I even hesitate to call him the comic relief as his character is so integral to the story and he embodies him with so many layers of complexity. He goes from hysterical stream of consciousness non sequiturs to a subtly manic intensity at the drop of a hat (or hand) making his character an absolute joy to watch. His monologue alone is worth the price of admission.
~This production of Behanding is fun, dumb, and entertaining, just like McDonagh's script—its star is neither the one-handed creep nor the dumb kids but Brandon Ryan as a philosophical hotel clerk who watches the mayhem with an insightful detachment reminiscent of a Quentin Tarantino character.
~All in all, this is a pretty good production of a pretty good play, and Ryan's performance as the clerk is a wry joy to watch.
~the majority of the humor arrives courtesy of Mervyn, Behanding‘s clear comic relief, a role that Ryan delivers with a laconic, creepy and clingy charm.
THE SEATTLE TIMES:
~But it’s Ryan who craftily adds a waft of masochistic melancholy, in a loser’s yearning to become some kind of hero — even a Pyrrhic one.
~Brandon Ryan’s portrayal of the hotel receptionist, Mervyn, who just wants to be the hero (albeit, for the wrong reasons), continually fails at barely being a stand-up guy making him fantastically creepy throughout.
THE SEATTLE GAY NEWS:
~Brandon Ryan gets the most intriguing role of the nosy desk clerk. For reasons of his own, he likes to provoke, even if it might get him killed. This role is the most fun and contributes the most laughs. Ryan has portrayed a number of odd characters on stage, so he's also familiar with what it takes to make them sing.
TAMING OF THE SHREW:
~The entire cast is from the Gods!
~And I have to mention Brandon Ryan and David S. Hogan in their brief yet oh so memorable roles. Ryan takes on multiple characters and infuses them with enough energy to power a small city. From his show stopping death scene to his spot on mimicry of the difficult brides to his feral protection of his master he never lets the audience forget who they should be watching.
~By most metrics, the production is a hit: A farcical death scene by Biondello (Brandon Ryan) stopped the show with its own round of applause.
THE DAILY UW:
~The actors are outrageous and boisterous on stage. With finesse, they bring “The Taming of the Shrew” to the height of humor. Though the cast is large, it’s not difficult to keep the characters straight, as they’re all so unforgettable. Brandon Ryan especially stands out in two servant roles: the blundering Biondello and a rabid interpretation of Sugarsop.
SEATTLE GAY SCENE:
~The entire supporting cast shone, with highlights being David S. Hogan’s slightly mentally deficient, karate chopping, sidekick Grumio; Brenda Joyner’s featherbrained “Princess”/Kate’s younger sister, Bianca; Brandon Ryan’s crazed underling/sidekick Biondello
SEATTLE GAY NEWS:
~There are a lot of other terrific players in this large cast, but Brandon Ryan as the clowniest sidekick is unforgettable and Karen Jo Fairbrook, reprising as Mama Baptista in what is usually a fatherly role, is a Southern hoot in her bling and sass.
recent recipient of the peoples voice award for best actor at the 1st annual TPS Gregory Falls awards, and 2009 footlight award winner for Bravura Acting for maris/stuart.
Professions/skills: Producer;Artistic Director;Actor