{"id":2535,"date":"2013-07-17T11:42:57","date_gmt":"2013-07-17T15:42:57","guid":{"rendered":"http:\/\/stateofshakespeare.com\/?page_id=2535"},"modified":"2022-10-17T11:44:07","modified_gmt":"2022-10-17T15:44:07","slug":"nicholas-martin-smith-about-the-artist","status":"publish","type":"page","link":"https:\/\/stateofshakespeare.com\/?page_id=2535","title":{"rendered":"Nicholas Martin-Smith: About the Artist"},"content":{"rendered":"\n

Click here<\/a>\u00a0to listen to his interview.<\/p>\n\n\n\n

\"\"<\/figure><\/div>
\"\"<\/figure><\/div>
\"\"<\/figure><\/div>
\"\"<\/figure><\/div><\/div><\/div><\/div>\n\n\n\n

Nicholas Martin-Smith <\/strong>It was his grandfather\u2019s cousin, playwright Edward Martyn, who along with W. B. Yeats and Lady Gregory of Poole, founded Dublin\u2019s Abbey Theatre<\/a>.  Mr. Martin-Smith has been the Artistic Director of the Hudson Warehouse<\/a> since its inception in the Summer of 2004.  He directed and appeared in the company\u2019s inaugural production of The Tempest<\/em>.  He also directed Much Ado About Nothing<\/em>, Hamlet<\/em>, Trojan Women<\/em>, Cyrano<\/em>, Romeo & Juliet<\/em> as well as last seasons Richard III<\/em>.   Mr. Martin-Smith has worked for years as an actor, most recently appearing Off-Broadway as Frank Deluca in The Rise of Dorothy Hale<\/em> at St. Luke\u2019s Theatre<\/a> and as Harrison Brent in Perfect Crime<\/em> at the Snapple Theatre Center<\/a>. Also Off Broadway as Angelo in Measure for Measure<\/em> (Soho Rep<\/a>), Mark Antony in Julius Caesar (Douglas Fairbanks) and as Antyphilus of Syracuse in The Comedy of Error<\/em>s (Riverside Shakespeare Co.<\/a>).  He also appeared in New York as Claudius in Hamlet<\/em>, the Duke of Cornwall in King Lear<\/em> and as King Magnus in The Apple Cart<\/em> all at Theatre Ten-Ten<\/a>. Other roles include Dr. Lvov in Ivanov<\/em> at The Mint Theatre<\/a>, Pentheus in Chuck Mee\u2019s adaptation of The Bacchae<\/em>, and Lt. Charles in Renee Phillippi\u2019s adaptation of The Adding Machine<\/em> at 78th Street Theatre Lab.  Regionally he has appeared in The Tempest<\/em> and Much Ado About Nothing<\/em> both at Boston\u2019s Publick Theatre<\/a>, and as Konstantine in The Seagull<\/em> at the American Repertory Theater<\/a>.  He also appeared as Franny in Balm in Gilead<\/em>, John Polk in Am I Blue<\/em>, and in the title role of David Mamet\u2019s Edmond<\/em>, all at the Alley Theatre Company<\/a>.  Television credits include, \u201cLaw & Order,\u201d \u201cAnother World\u201d and \u201cSpencer: For Hire.\u201d  Film credits include \u201cPicture Perfect,\u201d \u201cCarlito\u2019s Way,\u201d \u201cThe Clothes Line\u201d and \u201cBoys Night Out.\u201d  He received his B.F.A. from Tulane University and his M.F.A. from Brooklyn College where he was a graduate fellow. In addition to teaching at Brooklyn College, Mr. Martin-Smith has taught acting at Marymount Manhattan College, St. Francis College and at the American Musical and Dramatic Academy, as well as his own studio class.  He is the recipient of the Monroe Lippman Founder\u2019s Award for Acting, and a Best of Boston Award for his performance in the title role of David Mamet\u2019s Edmond<\/span>.<\/p>\n","protected":false},"excerpt":{"rendered":"

Click here\u00a0to listen to his interview. Nicholas Martin-Smith It was his grandfather\u2019s cousin, playwright Edward Martyn, who along with W. B. Yeats and Lady Gregory of Poole, founded Dublin\u2019s Abbey Theatre.  Mr. Martin-Smith has been the Artistic Director of the Hudson Warehouse since its inception in the Summer of 2004.  He directed and appeared in<\/p>\n [...]<\/a>","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"open","ping_status":"open","template":"","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"jetpack_post_was_ever_published":false,"footnotes":""},"class_list":["post-2535","page","type-page","status-publish","hentry","post-seq-1","post-parity-odd","meta-position-line-bottom","fix"],"aioseo_notices":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P2Frfq-ET","jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/stateofshakespeare.com\/index.php?rest_route=\/wp\/v2\/pages\/2535","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/stateofshakespeare.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/stateofshakespeare.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/stateofshakespeare.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/stateofshakespeare.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2535"}],"version-history":[{"count":12,"href":"https:\/\/stateofshakespeare.com\/index.php?rest_route=\/wp\/v2\/pages\/2535\/revisions"}],"predecessor-version":[{"id":8594,"href":"https:\/\/stateofshakespeare.com\/index.php?rest_route=\/wp\/v2\/pages\/2535\/revisions\/8594"}],"wp:attachment":[{"href":"https:\/\/stateofshakespeare.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2535"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}