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Best Actor in a Black-Hearted Comedy - 2008
The Lieutenant of Inishmore
"Gene Gillette held the stage with complete authority in The Lieutenant of Inishmore, a crazed, cathartic bloodbath of a play dominated by scenes of torture, murder and dismemberment. As the psychoticÂ Padraic, unhinged by the death of his cat, he was dopey, sentimental and terrifying, and you believed he was capableof every violent act attributed to him â€” and a good deal more."
Juliet Wittman, Westword Theatre Critic
The Colorado Theatre Guild is proud to announce the
2008 Henry Award Winners.
Outstanding Actor in a Play
Gene Gillette, Curious Theatre Company, The Lieutenant of Inishmore
2004 Ovation Award: Best Actor Drama
"Gene Gillette, TheatreWorks' "A Streetcar Named Desire": Gillette, the
2001 winner in this category for Curious' "Coyote on a Fence," is on the stage
what Stanley is on the page - primal and dangerous, with an alternating ability
to be almost boyishly tender. Gillette doesn't have the slightest inhibition
diving into either extreme, sometimes transitioning between the two with such
shocking speed as to draw gasps." John Moore, Denver Post Theatre Critic
BURN THIS, SHAKESPEARE SANTA CRUZ
"Director Michael Barakiva had seemingly endless talent to burn in the explosive Gillette, an actor whose expletive-laced speeches threatened to go nuclear. You could feel ears scorching and paint peeling as Gillette worked to the very edges of his character, haunted by the ghost of George C. Scott and just a touch of Tony Soprano. Gillette could have gone even further, but the playwright couldn't" Cristina Waters, Metro Santa Cruz Theatre Critic
2001 Ovation Award: Best Year by an Actor
Hamlet and Coyote on a Fence
"Richard II is as given to high-flown poetry, and King Lear weathers as many cosmic crises, but the role of Hamlet is still considered the supreme account of an actor's mettle. From Burbage to Bernhardt to Barrymore to Burton to Branagh, performers have always laid everything on the line to portray the greatest human ever conceived by dramatic invention. And while it's daunting to take on a role that's been inhabited by history's best actors -- just about everything imaginable has been done with (and to) the part -- an actor can place his or her own stamp on the character by avoiding novelty for novelty's sake and sticking to a few fundamentals, like paying close attention to textual clues.
This is what local actor Gene Gillette manages to do in the Denver Civic Theatre's engaging production of Hamlet.Â Gillette draws on reservoirs of humanity, technique, insight and showmanship to successfully navigate a theatrical rite of passage. The twenty-something performer is assured from start to finish and equally at ease in scenes of high emotion and low comedy. By choosing to speak the many soliloquies directly to the audience, Gillette makes us feel as though we're partners on his emotional odyssey instead of grudgingly welcome eavesdroppers." Jim Lillie, Westword Theatre Critic
2008 Ovation Award: Best Actor Comedy
The Lieutenant of Inishmore
"The cast is magnificent, led by a seductive, frightening and yet effectively contained Gene Gillette as an alternately savage and sweet madman who would make PETA proud (when not bombing chip shops)." John Moore, Denver Post Theatre Critic
Baltimore: "Pure awestruck inspiration is often hard to come by these days upon the stage, but a radiant beam of stunning and imaginative heart is blasting its way onto the stages of Baltimore as Broadway Across America presents the Tony Award winning Best Play, War Horse. Human characters build this story to its awe-inspiring heights, their raw reality and genuine emotions infused into every scene is what keeps you focused from the moment the production starts until it closes. From the hard knocks of Devon where the accents are thick but the skin on the villagers is thicker, to the battlefields of France where the Germans and the English can barely speak a word between them; it is the people’s story as much as the horses. The Narracott family is the central focus, with Rose (Maria Elena Ramirez) and Ted (Gene Gillettte) raising their young son Albert. Ramirez is a stern woman with a kind heart that always sees the bigger picture. Juxtaposing this dual personality up against the drunken and thickheaded character played by Gillette and already the stakes of the production begin to simmer.”
Washington D.C.: “When Albert’s father, Ted (played with hard-hearted splendor by the versatile Gene Gillette), attempts to whip Joey into submission, we can’t help but hope that Ted might suffer some horrible fate—which makes us all the more emotionally vulnerable to the war horrors we’ll soon witness.”
Nashville: “After five Tonys® on Broadway and appearances around the globe this phenomenal storytelling experience is finally here – and it lives up to all the hype…War Horse…features actors that take the tale’s other characters and make them very believable. That includes Gene Gillette, who clearly conveys the tortured soul of Albert’s father Ted.”
Los Angeles: “Brilliant War Horse Returns to Los Angeles at the Pantages for One Week Only. Standouts in the brilliant ensemble include Gene Gillette as the troubled father.”
Calgary: “Gillette’s Ted might be a drunken, defeated hothead, but there’s also a shred of something interesting about him — he didn’t fight in the war that Arthur did, and has never lived it down, in his own eyes or Arthur’s.”
Macbeth, Berkeley Repertory Theatre,
starring Frances McDormand, Conleth Hill and directed by Daniel Sullivan
Frances McDormand is so thoroughly engrossing a Lady Macbeth, and so unforgettable in her sleepwalking scene, that you can’t help wishing Shakespeare had written a whole play for her. Conleth Hill’s performance in the title role is an unsettling case study of a man realizing how badly he’s become trapped in the escalating results of one very bad decision. He even makes you believe he actually sees that dagger dangling before him....Sullivan rivets our attention to the stage with the opening “When shall we three meet again?” scene. Amid a gothic chaos of sound, lights and fog, an unusually potent trio of Witches speak in chillingly business-as-usual tones as they gather about a bloody soldier hanging on the trunk of a huge, gnarled old tree..James Carpenter’s unpretentious but firmly royal Duncan anchors the scene in which we learn about the gory military heroics of Macbeth and his comrade-at-arms Banquo, vividly related by Gene Gillette as a badly wounded soldier" Robert Hurwitt San Francisco Chronicle