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OLD TIMES by Harold Pinter

Theater Scene:

"Caressing every word with his clipped British accent, the Irish actor Philip O’Gorman is simultaneously dynamic and laidback as Deeley. With his close-cropped salt and pepper hair and animated face,  Mr. O’Gorman beautifully achieves all of the comedy and all of the menace associated with Pinter."

Darryl Reilly, Theater Scene


Theater That Matters:

"[Philip] O’Gorman is compelling as Deeley. We are never quite sure whether he's

more aroused or furious by the two ladies questionable relationship. He touts this line nicely and we are intrigued by his performance."

Nicholas Linnehan, Theater That Matters


Hi Drama:

"Director Christopher Martin, aided by three excellent and attractive actors, has captured the essential Pinter in this stripped-down, minimalist, white-room set at the Alchemical Theater Laboratory. The play is all talk and no action yet because of the tension created by these convincing actors we are sucked into their world and forced to think about what is really going on. Isn’t that what we’re doing in life?"

Bob Crisso, Hi Drama



"O'Gorman as Deeley is commanding and when it is called for, playful with the dialogue."

K Krombie, StageBuddy

Prom King 2010 directed by Christopher Schaap

Official Selection Cinequest 2017

FILMJERK: Ah, to be young and gay and fabulous in New York City! Ah, to be young and a great storyteller and charismatic! I hate Chris Schaap! No, I don’t. He’s simply too extraordinary to hate. And now, his film is the winner of the 2017 Cinequest Film Festival New Vision Award!

Queer Guru:This totally charming and vastly entertaining movie that takes us through all of young Charlie’s ups and downs with the men he does meet and tries to romance, is a sheer joy from start to finish.

THE BENCH directed by Tom Lazarus

Culver City Film Festival – Award for Direction

L.A. Shorts Festival – Laurel Award – Best Actress

Sedona International Film Festival

Los Angeles Cinefest, L.A. Shorts

Philip: Derived from the Greek Philippos meaning fond of horses.





















THE BLOODY DEED OF 1847 by Elise Gainer


Conducting a seancé in a historic parlor to find out what really happened to Harvey

Burdell. I’m standing on the sidewalk outside a drugstore on a breezy Friday evening, in

the East Village holding a small metal lantern. There’s a large group of people following a

woman named Charlotte for a seancé. And not just any old seancé. We’re looking into a

murder. And not just any murder, but an unsolved kiling from 1857, wherein a quite

charming and handsome Mr. Harvey Burdell (played by Philip O’Gorman), a wealthy dentist

of some note, was found stabbed fifteen times in his own home and all eyes turned upon

his on-again-off-again relationship with a certain Emma Cunningham (Elise Gainer), who claimed to be his wife…his secret wife.

I grew up in Ireland, just outside the wonderful, quite magical city of Kilkenny, and my childhood was, in many respects, idyllic. My siblings and I ran wild in the countryside and, during our many adventures we built tree houses; picked mushrooms in dew-laden grass; gathered bluebells in the woods; and swam in the river. 


However, the flip side to this picture perfect childhood is the well-documented darker side to Ireland, a side which is still evident in the abundance of work being produced by Irish artists. It affected me too: I developed a very guarded exterior.


True to the meaning of my name, I started out with a plan to become a show jumper, and as a teenager I worked for a horse trainer practically every weekend. But there was a little voice in my head urging me to act. It proved to be unrelenting so eventually I had to listen. 


At last I took acting classes, which led me to audition for the drama school in Trinity, Dublin. It was at this point that the limitations of my guarded exterior began to surface. What I believed to be my strength was my weakness. I was declined by Trinity for two consecutive years - they referenced my struggle with vulnerability. 


That didn’t stop me however. I joined a well-respected theatre company in London in the hope that I would get spotted. There were opportunities to do so but I believe my lack of vulnerability played a part in that not quite going to plan. On top of that, I now realise I was acting my parts not living them, and there’s a world of difference between the two. 


It all proved to be very unsatisfactory so after several years of unfulfilling work both with, and separate to the theatre company, I decided I had had enough. 


This decision however left me with a huge void in my life, and before long I understood I needed to recalibrate, and figure out where I was going wrong.  To do this properly I decided to get out of London with all its distractions, and move to New York to focus on my craft. 


During my training here I became familiar with, and eventually embraced: The duality of the mind and body; impulses; the joy of play; my voice, both singing and speaking; my socialised body; my shadow persona; being open; taking risks; how to approach a play in order to tell the story as the author intended; finding the essential humanity of the character; living the part; and of course being vulnerable. 


I feel incredibly humbled, and so very lucky to have worked with so many great teachers, and to be doing what I do. 


I want to work on stage, in film, and on TV, and I especially want to do the classics. Shakespeare, Chekhov, Ibsen, Beckett, and Shaw come to mind immediately, and given the opportunity I will bring their characters to life, seasoned with me. I am passionate about acting, and aspire to do great work. 



Elise Gainer - Men of Bloody Deed of 1857.JPG
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