Tony Isbell is a long time actor and director in the Memphis area. His work has appeared in almost every venue in and around the city. Most recently, he portrayed the artist Mark Rothko in Circuit Playhouse’s production of Red. He has a long history with Circuit Playhouse. His very first appearance on a Memphis stage was the role of Bobby in American Buffalo at the old Circuit Playhouse on Poplar Avenue, many years ago. His most recent roles at Circuit, and two of his all time favorites, include Mr.Lockhart in the Seafarer and Laurence Olivier in Orson’s Shadow.Other recent performances include Greg in Sylvia; Lloyd Dallas in Noises Off; Salieri in Amadeus; Sherlock Holmes in Sherlock Holmes: The Final Adventure and Dan in Buffalo Gal, all at Theatre Memphis.
As a director, some of Tony’s past productions include Boston Marriage, Fuddy Meers and Raised in Captivity, all at Theatre Memphis, as well as Prelude to a Kiss and The Birthday Party at Circuit Playhouse and Waiting for Godot at TheatreWorks. His two most recent directorial efforts were Glengarry Glen Ross and Six Degrees of Separation, both at Theatre Memphis. He is currently in the midst of rehearsing Death of a Salesman which opens at Theatre Memphis on January 24, 2014.
In film and television, Tony has had roles in the films The Delta and Forty Shades of Blue as well as a starring role in the cult classic I Was a Zombie for the FBI. On television he played a vicious killer in an episode of America’s Most Wanted set in Memphis. Most recently on TV, he has played the recurring role of Dale, the Zombie Hunter on Professor Ghoul’s Horror School on Memphis PBS station WKNO.
Tony’s work has received multiple nominations and wins in the annual Ostrander Theatre Awards in the categories of Lead Actor, Supporting Actor, Ensemble, Best Director and Best Dramatic Production.
He received his theatre training from William Snyder at the University of Tennessee Martin. He and his wife Marie have been married for 36 years and are the proud parents of three adult children: Jessie, Katie and Michael.
BWW Blog: Tech Week of DEATH OF A SALESMAN
January 19, 2014
January 19, 2014
Tech week. That point in rehearsal where all the "technical" elements are added on to the work the actors have been doing for weeks. Tech week. That point in rehearsal where the director's focus inevitably shifts from what is going on with the actors to what is going on around and above and behind them.
BWW Blog: Tony Isbell On Casting
January 14, 2014
January 14, 2014
I began my work in the theatre as an actor. That was the passion that first led me to the stage as a young man. After a few years, the opportunity arose and I tried my hand at directing. I've been doing both for a long time now. Because I both act in plays and direct them, I sometimes get asked something along the lines of "Do you think of yourself as an actor or a director?" My answer is always the same: I am an actor who directs. I don't mean the answer to be flip or facetious. The fact that I was, and still remain, an actor at my core informs the way I direct a play.
BWW Blog: DEATH OF A SALESMAN - Beginnings
January 6, 2014
January 6, 2014
BY ANTHONY ISBELL When I was approached about directing Death of a Salesman for Theatre Memphis, I hesitated for a moment. Several questions crossed my mind. Did I have any fresh insights to bring to the show? After all, it is one of the most produced scripts of the American canon. In fact, there had been an acclaimed production of the show in Memphis in the not too distant past. Was it too soon to do another version? The show was scheduled to open in late January, 2014, which meant rehearsing during the holidays. Would enough people turn out to audition knowing the time commitment? And would the right people audition, people who could play the demanding roles of Willy, Linda, Biff and Happy? Not to mention the supporting roles that may appear for only one or two scenes but are absolutely vital to the story?
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