I’ve devoted my life acting: studying acting, directing actors, writing for actors, and teaching acting. I’ve been fortunate in that I’ve always worked, which was my first goal. Along the way I reached many of other the goals I set for myself.
It’s still the most interesting thing to me, the need of human beings to “talk story”, and all of the mediums and styles in which we do that.
And I have never stopped asking myself questions.
Why are some actors so compelling? What are they doing that I can learn to do? What is it about the vulnerability of an actor that can be so fantastic, and so unsettling? How can I communicate the craft to young actors so that they see the beauty, the risk, the dignity of the role of the fool in our society? When will I get my next gig?
And sometimes the question is: Is there anything else I can do and be happy? Alas, that question becomes less applicable over time, and in the past year I find myself redrawn anew into the fire.
When the lights go down in the theater my heart lifts up. Another story is on the way, and I can’t wait to see it, hear it, tell it, and give it away.
“TROY – Wow!
Sometimes one has to look in corners and crevices to find the best the area arts scene has to offer. Such is the case with the Theatre Institute at Sage’s 50th Anniversary Second Stage production of Edward Albee’s staggering masterpiece “Who’s Afraid of Virginia Woolf?”…a small, excellent cast.
David Bunce and Leigh Strimbeck play George and Martha. Bunce, easily doing his best work ever, is remarkable as George, and Strimbeck is often genuinely fearsome as the cat in the corner Martha. They hurl insult after insult, while riding waves of emotion, Scotch and gin.
They make this the best “Woolf” I have seen (which is saying something, considering it’s my favorite play)…This play is not light. It is as dark as art gets, and it plunges headlong into the inky depths of the crippled American spirit…Very recommended”
— Albany Times Union Arts Beat Blog by Michael Eck, 11/2012
“Her lover, nurse Joan, is played by Leigh Strimbeck, with an assurance and sense of place and purpose that is absolute. There is no denying Joan is a nurse. It would seem that there is no acting going on here, but this Joan is THE Joan and that Joan is a nurse. Her physicality of the role is tremendous; just watch her entrances and exits and you learn so much more about who Joan is in relation to her lover and her professional world. She also has an accent that places her as foreign to the environment portrayed in this play. Much is made of that, so we know it’s true. Brilliantly it is Strimbeck at the wheel, for she does all of this very, very well.”
— Peter J. Bergman, Berkshire Bright Focus, 11/2010, review of WAM Theatre’s Melancholy Play, written by Sarah Ruhl and directed by Kristen van Ginhoven