Here are some of the stages I've been in and been thru as a Philly actor…

1812 Productions

In 2000 Jen Childs, Artistic Director of the Philadelphia theatre company 1812 productions, decided to craft a yearly show to honor an American comic tradition: Vaudeville, Nightclub Comedy, Improv, Women, Double Acts, Political Humor. I have helped write, hone, and perform both vintage and original comedic material for many of these shows. They also spawned Jen and my Burns and Allen routine (which we have since performed at galas, benefits, and other Philly functions), as well as showcased my continuing comedic relationship with Scott Greer (11 local shows together), culminating in a show crafted just for us: Double Down. Jen and I also crafted two comedic cabarets just for us: Let's Pretend We're Married and Let's Pretend We're Famous. 1812's a fun place to work.

Arden Theatre Company

I've done a bunch of shows at the Arden, from Shakespeare to musical comedy, but Terry Nolen producing Look Mom, I'm Swell was a highlight for sure. The show is a tribute to my dear mother Sally who passed away, and has had five different runs at various Philly theatres.

Act 2 Playhouse

This Ambler vest pocket theatre has become my artistic home since 2004, when The Big Bang first banged. I've been in many shows here - Say Goodnight Gracie, Story of My Life, Boeing-Boeing, My Fair Lady, Iron Kisses, Stones in His Pockets - to name a few. My live talk show homage to Johnny Carson - Heeere's Tony! - had its debut here as well.

Montgomery Theatre

Tom Quinn is the A.D. there and the nicest man in show business. I've directed there, and spent many summers acting with Montgomery: Rounding Third, Fully Committed, Moonlight and Magnolias, 10% of Molly Snyder, Prisoner of 2nd Avenue.

Barrymore Host

(I love the smell of burnt egos in the morning)

In 2001, I was asked to host the Barrymore Awards (Philadelphia's version of the Tony's). No local individual had hosted solo before. I was still a relative unknown, but I took a risk and replaced some of the show’s gravity with levity. I wanted to make the evening a time to laugh at ourselves as well as honor ourselves. Something must have worked, because I was asked back, and hosted a total of four times. Mostly what I felt I brought to the Barrymore’s was not only a sense of levity, but a sense of spontaneity. I “used” whatever caused any kind of a stir on stage, and made jokes about these things, on the spot.* Some people left these evenings with their egos shaken up. Most people left these evening laughing. Hard. (* Improv is a huge part of what defines me as an actor, and I employ it – when appropriate, though purists would disagree – in shows like Forum or Big Bang, for example.)

Theatre Education

(Comedy, tragedy … and that’s just the faculty meetings)

For 12 years I juggled acting professionally with full-time teaching at my beloved alma mater, St. Joseph’s Prep. I taught Religion and Sexual education ("Surf and Turf") and Theatre. I left teaching full time, but still direct at the Prep (recent shows include The Drowsy Chaperone, Death of a Salesman, and The Producers) and I suspect I always will. I have also taught drama at The Curtis Institute. (It's the first acting class ever taught at this predominantly music school.) and for 5 years I directed the University of Pennsylvania’s annual Mask and Wig show.

Other

(Please check “all/none of the above”)

I don’t fit into a neat category as an actor. It can be hard to define me. Here’s what The City Paper has said about this: “In Baby Case most of the actors will play multiple roles — which works well with Braithwaite’s chameleon-like acting ability. “His confidence and his flexibility as an actor was the first thing I was taken with,” says Michael Ogborn, the show’s composer. Frequenters of the Arden first saw Braithwaite put his stamp on Bernard in Death of a Salesman, followed by A Midsummer Night’s Dream, Red Herring and Picasso at the Lapin Agile. Braithwaite can play farce, the straight man or musical comedy.” Critic David Anthony Fox called me, “an aging altar boy with a hint of naughtiness.” When I was in A Funny Thing Happened on the Way to the Forum, one critic said, “You might catch a few echoes of Nathan Lane and Eddie Cantor in his performance, but he seamlessly blends the best traits of those great comics into his own unique style.” (My therapist and I are working on all this in weekly sessions; they're going well.)

With Regards to the Unknown Future

(Here’s what I know for sure (huh?))

I want to stay in Philadelphia.

As a Philadelphia native, one of the things I most enjoy about performing here is that I get to entertain so many of my friends and family. My dear father was at our huge parish party a few years back. He remarked to me afterwards that every other person at the party had either seen me in something recently or had tickets to see me in something. (Even our Vicar had been to the dark satire, “After Ashley” at PTC!) That’s the real treat for me: waiting in the lobby after each show to see who had been at that performance. Terry Nolen was astounded during Death of a Salesman that I had people at every show. (I apparently sell so many tickets at The Arden that I have my own Box Office source code – seriously.) I feel so sorry for out of town actors who never get to experience that. For me it’s the real joy of working here: entertaining those I know and love. It’s a joy that will keep me in Philly.

I want to make people laugh.

Comedy is my passion, and although I welcome the challenges that non-comedies bring, I would primarily like to be known as a comic actor. Seriously.

I want a lot of comps.