Actor, writer & occasional director.


For some reason the last decade has seen much more of the former one than the latter two...


I started my acting career in New Zealand; at the Free Theatre, one of the country's oldest avant-garde theatre companies. 

We did unspeakable things to our audiences & ourselves.

I still miss those days. You haven't lived until you have stripped naked in a cellar & burned all the hair off your body, or flung mud & spittle in the faces of people who have laid out good cash for the privilege. Ah – the life of an artist as a young man...








In 1999 I left what was turning into a nice little on-camera career in NZ to see what was happening at Harvard University’s celebrated Institute for Advanced Theatre Training.

The Institute had begun a close relationship with the legendary Moscow Arts Theatre in Russia, & in Moscow in the winter of 1999-2000 I took up my place in a direct line of descent from the great Constantin Stanislavsky, the father of pretty much all modern acting practice.

So in the end, Boston and Moscow are where I really learned how to do this thing called acting - & I have kept learning ever since.




Of course, I meant to go home to New Zealand after 2001. But I met this:






How could I leave? We got married in her home village in southern Greece.

She’s as crazy as a cat.







So I stayed in the US, & have been fortunate enough to work with some of the most outstanding & celebrated theatre directors in the world:

the three great Bobs of American Theatre - Woodruff, Brustein, & Falls, as well as current Broadway darling Joe Mantello;

Calixto Bieito, the Catalan Lunatic; 

Adrian Noble, long-term head of England’s RoyaL Shakespeare Company;

Celebrated opera director and former head of the RSC’s Experimental wing - Brazil's Ronaldo Daniel;

and Hungarian cinema and theatre visionary Janos Szasz.




With these directors I have had roles in several landmark productions of the modern American theatre:

Tony Award Winner for Best Play, TAKE ME OUT;

the acclaimed New York production of Tracy Letts' BUG;

Bob Falls & Stacy Keach's KING LEAR (The New York Times said it was the greatest LEAR in memory, and since this is a brag-page I’ll let slip that VARIETY said my Edmund nearly stole the whole darn show);

Janos Szasz' devastating MOTHER COURAGE at the American Repertory Theatre;

and, most recently, Calixto Bieito’s divisive, unforgettable CAMINO REAL at Chicago’s Goodman Theatre:


















In recent years I have been slowly turning my focus to film & television, leaving Manhattan for the sunny traffic jams of Los Angeles.

I have since been a rapist, murderer (or at very least an asshole) on a bunch of TV shows as well as several features -  including THE ELEPHANT KING, shot on location in northern Thailand.







The film won numerous awards internationally, & I was flattered to be listed as a best performance of the year in 2007 by the Hollywood Reporter. 

if you don’t believe how brilliant it is, it apparently screens regularly on late-night German television. yeah. uh-huh. GERMAN.



And on screen, the off-kilter roles keep coming. It seems like I’ve been interrogated, charged, or maltreated by almost every cop on TV.

I’ve been blown up, shot, shot and run over, bound and gagged and locked in a trunk, shot in the head, shot multiple times in the chest, shot in a pool, crippled with a baseball bat, and stabbed in the chest with a sizeable meat-hook.

I’ve leapt into the lava-filled caldera of a volcano, I’ve had my whole head split by some kind of throwing blade wielded by Lucy Lawless, I’ve been impaled on railway spikes and suspended from ropes until I suffocate.

I slit my own wrists and bled to death into a goldfish tank.

I blew my head off in an old Dodge Dart parked outside a closed gas station.

I blew myself up with my own bomb.


I am indestructible.






When I'm not buggering off somewhere acting I'm generally to be found writing, or working on a motorcycle in my shed in Silverlake, Los Angeles.