ACTING

Selected

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THE AGITATORS

Susan B. Anthony

Paul Mullins

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UNDISCOVERED SHAKESPEARE: WAR OF THE ROSES (RICHARD THE THIRD)

Richard the Third

Susan Dalian

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UNDISCOVERED SHAKESPEARE: WAR OF THE ROSES (HENRY THE SIXTH PART 3)

Richard the Third

Paul Mullins

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UNDISCOVERED SHAKESPEARE: WAR OF THE ROSES (HENRY THE SIXTH PART 2)

Dame Eleanor / Multiple Roles

Susan Dalian

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UNDISCOVERED SHAKESPEARE: WAR OF THE ROSES (HENRY THE SIXTH PART 1)

Joan La Pucelle / Multiple Roles

Paul Mullins

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Fate, Captain of the Rachel, and Elijah

Holly Griffith and Cynthia Meie

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Dromia of Syracuse / Dromia of Ephesus

Kirsten Brandt

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Time

Raelle Myrick-Hodges

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SECRET IN THE WINGS

Multiple Roles

Cynthia Meier

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Siobhan

Cynthia Meier

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ROMEO AND JULIET

Nurse

Laura Gordon

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LOVE'S LABOUR'S LOST

Boyette

Paul Mullins

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The Fool

Cynthia Meier

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THREE TALL WOMEN

B

Christopher Johnson

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MEASURE FOR MEASURE

Provost

Tyne Radaeli

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THE TWO GENTLEMAN OF VERONA

Launce

Art Manke

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AS YOU LIKE IT

Audrey

Desdemona Chiang

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Maria Callas

Susan Myer Silton

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Athena

Kimberly Jannarone

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HAMLET

Polonius

Paul Mullins

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A MIDSUMMER NIGHT'S DREAM

First Fairy

Terri McMahon

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Mrs. Kilbride

Joseph McGrath

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Rosencrantz

Cynthia Meier

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Rosencrantz

Cynthia Meier

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MUCH ADO ABOUT NOTHING

Leonata

Laura Gordon

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MACBETH

First Watch / Ross

Kirsten Brandt

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Portia

Cynthia Meier

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Mabel

Joseph McGrath

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COMEDY OF ERRORS 

Abbess / Courtesan

Aaron Posner

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Various Characters

Joseph McGrath

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TWELFTH NIGHT

Andrew Aguecheek

Michelle Hensley

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ARCADIA

Hannah Jarvis

Cynthia Meier

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KAFKA'S MONKEY

Red Peter

Joseph McGrath

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Hoopoe

Aaron Posner

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Monkey King

Cynthia Meier

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Player 1

Cynthia Meier.    *Note: This production was also performed in Jagriti (India) 

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Autolycus

Cynthia Meier

THINNING VEIL

Clytemnestra

Kirsten Brandt

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HENRY IV, PART ONE

Mistress Quickly

Scott Wentworth

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THE THREE MUSKETEERS

Madame Coquenard

Art Manke

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Alibech

Joseph McGrath

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Ariel

Cynthia Meier

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Rani

Cynthia Meier

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Emilia

Cynthia Meier

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The Mime (Player)

David Morden

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HAPPY DAYS

Winnie

Jonathan Moscone

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DIARIES OF ADAM AND EVE

Eve

Marco Barricelli

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A MIDSUMMER NIGHT'S DREAM

Quince

Aaron Posner

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ORLANDO

Cynthia Meier

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Winnie

Cynthia Meier.    *Note: This production was also performed in Ranga Shankara (India)

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Sonnerie and Scarron

Andrew McGrath

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Lyubov Adnreevna Ranevskaya

Cynthia Meier

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Shen Te

Cynthia Meier

FIN DEL MUNDO

Clown / Buffoon

Guido Navarro

 

SPECIAL SKILLS

Bilingual (Spanish) Physical Theatre, Devised and Ensemble Theatre, Clown, Mask, Circus Skills, Acrobatics (rolls, falls, cartwheels, splits etc), Eccentric Dance, Balinese and Javanese Dance, Basic Doubles Acro, Juggling, Rola Bola, Puppetry, Greek Choral Choreography, Stage Combat (Beginning Theatrical Combatant: Unarmed; Beginning Combatant: Rapier and Dagger, Broadsword) Renaissance Polyphony, Vocal Effects, Accent Work.

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PERFORMANCE REVIEWS

Selected

 

THE WINTER’S TALE – SANTA CRUZ SHAKESPEARE

2019

“Mega-kudos to Patty Gallagher, whose panache gives clarity throughout.” The Good Times, Christina Waters


 “…aided by the elegantly costumed Patty Gallagher, looking for all the world like Queen Victoria or some such.” Santa Cruz Sentinel, Joann Engelhardt

COMEDY OF ERRORS - SANTA CRUZ SHAKESPEARE

2019

“Patty Gallagher is a clownish delight as the much-abused servant Dromia and her local counterpart.” San Jose Mercury News, Sam Hurwitt

THE SECRET IN THE WINGS – THE ROGUE THEATRE

2019

“Patty Gallagher transformed from a self-absorbed mother to a blind queen to a motherless child with the grace and skill she so often displays.” Arizona Daily Star, Kathleen Allen

ROMEO AND JULIET - SANTA CRUZ SHAKESPEARE

2018

“As Juliet’s good-hearted, no-nonsense, broad and bawdy Nurse, Patty Gallagher has her way, both with Shakespeare and with us. Clearly in her native element, Gallagher can turn a single syllable into a sonic Wikipedia of primal wisdom.” The Good Times, Christina Waters


 “As Juliet’s nurse, stalwart clown Patty Gallagher makes an early monologue so preposterous — why on earth would her masters let her babble for minutes on end about her husband? — that she winds up offering another smart riff on the play’s central theme.” San Francisco Chronicle, Lily Janiak 

LOVE'S LABOUR'S LOST - SANTA CRUZ SHAKESPEARE

2018

“As Boyet, eagle-eyed companion of the princess, Patty Gallagher has found the perfect part for her brilliant bag of tricks.” Good Times, Christina Waters

MEASURE FOR MEASURE - CO-PRODUCTION SANTA CRUZ SHAKESPEARE AND CALIFORNIA SHAKESPEARE THEATRE

2017

“Patty Gallagher as the Provost is the government middle manager we all dream of—earnest, steadfast and true.” Good Times, Steve Palopoli


“The reliable Patty Gallagher makes a steady, honest Provost, and she shores up several other roles like Lady Froth as well.” Santa Cruz Sentinel, Joann Engelhardt

THE TWO GENTLEMAN OF VERONA - SANTA CRUZ SHAKESPEARE

2017

“…clown Launce (a delightful Patty Gallagher), and between the two of them they get some of the best lines and best laughs. Gallagher and angel-winged, roller-skating Adam Schroeder as Speed are so good in their scenes, there are times one could wish the play was more about them instead of the rather ho-hum storyline of ‘Verona.’” Santa Cruz Sentinel, Joann Engelhardt


“… Launce, servant to Proteus, is a female here, and Patty Gallagher plays her with plenty of slapstick, sad-clown brio in her bowler hat and cane (reminiscent of the Fellini heroine in Juliet of the Spirits.)” Good Times, Lisa Jensen

AS YOU LIKE IT – CALIFORNIA SHAKESPEARE THEATER

2017

“A few of the other performers in director Desdemona Chiangʼs cast achieve similar heights, especially Patty Gallagher as simpleton Audrey and other comic parts. In her hands, clowning doesnʼt just give easy laughs; it becomes the showʼs sharpest tool for defining characters, relationships and situations.” San Francisco Chronical (posted by SFGate.com), Lily Janiak 


“…Patty Gallagher lights up the stage as the goofy shepherdess, Audrey.” San Francisco Examiner, Georgia Rowe 


“Patty Gallagher makes an amusing country companion for Touchstone as Audrey, who here is a very different and more grown up character than Shakespeareʼs original version, having been merged with the philosophical old shepherd Corin and having much of her wooing subplot (and the side characters that go along with it) omitted.” – San Jose Mercury News, Sam Hurwitt

HAMLET – SANTA CRUZ SHAKESPEARE

2016

“Patty Gallagherʼs Polonius is a comic revelation; she makes the clueless adviser to the king more like the wide-eyed nosy neighbor Gladys Kravitz in “Bewitched”. - San Francisco Chronical (posted by SFGate.com), Lily Janiak


“… as Polonius, SCS veteran Patty Gallagher, effortlessly crafts a tour de force of interfering blabbery. Her portrayal embodies a terrific match of comedic skills and deft wordplay, illuminating the silliness of the unfortunate counselor and the scathing send-up Shakespeare intends. The switch in gender complicates (deliciously) the characterʼs myopia.” – The Good Times, Christina Waters


“Patty Gallagher (a performer whose work I consistently admire) brings a pathetic depth to Polonius that I have rarely seen. She seems less a silly old fool than a woman who is hopelessly double-bound by the responsibilities she is given and the disempowering standards of behavior to which she is held (restricted?) while trying to achieve them. Although Eastwood NorrisʼHamlet provided a very interesting resonance in the shadow of Hillary Clintonʼs achievement, Gallagherʼs Polonius was equally reminiscent in another way as we saw and judged her quite differently than we would a man in the same situation.” – Shakespeare’s Tribe (online), Kurt Daw

MASTER CLASS – JEWEL THEATRE COMPANY

2016

“Itʼs obvious that Gallagher has Callas down pat: her mannerisms, her shrugs, her heavily made-up eyes. And she speaks impeccable Italian. … But thatʼs a trifle because thereʼs no questioning her command of the role. In Act 2, she has a monologue where she contemplates the choices and mistakes she has made, some with heartbreaking outcomes.”  – Santa Cruz Sentinel, Joanne Engelhardt


“Callas herself— beautifully played con brio by Patty Gallagher—is onstage throughout to talk us through the passion conveyed in the words. And the way these words reflect the deep passions of La Callasʼlife, gradually revealed in brief moving monologues, drives the drama forward. … Into this low-key milieu strides Gallagherʼs imperious, larger-than-life Callas, exuding wry wit, banked fire, and disingenuous modesty. (“We are not here to talk about me,” she reminds us constantly.) From her very first entrance, she takes the audience into her confidence, addressing us throughout the play as if we were all students in the lecture hall auditing her class. She dispenses random advice (“Get a look!” she exhorts us, or “Donʼt act. Feel!”), and provides often waspish commentary on the students brave enough to meet her onstage. “- The Good Times, Lisa Jensen


“The show stands or falls on the performance of its lead actress in a role that makes punishing demands on high energy emotional acting, adroit comic timing and just plain extended word count. Patty Gallagher does a wonderful job. Sheʼs obviously younger and heaps more winsome than the aging Callas was in the years when her voice had lost its power and her opera career had collapsed. Gallagher wisely avoids the kind of clever physical imitation that can brighten up a revue sketch but distract and ultimately annoy in a full-length performance. Using her own impressive acting gifts, she probes under the surface of the characterʼs relentless ego and ruthless teaching tactics with an assurance that makes even some of the more questionable tricks and starts of McNallyʼs script seem convincing. … Gallagher is a delight to watch as she applies that principle. In a performance that is a seemingly endless round of talk and physical activity she moves with unerring power, grace and meaning.” – Performing Arts Monterey Bay, Philip Pearce