I am an actor/singer based in Washington DC, where I recently completed my graduate studies in classical acting at the Shakespeare Theatre Company Academy (STCA). As part of this year-long intensive program, I immersed myself in a broad spectrum of techniques tailored to the classical actor, but relevant to all forms of dramatic expression: acting, textual analysis, voice, speech, movement, mask, clown, alexander, stage combat, stretch, conditioning, and theater history.
I grew up on the Eastern Shore of Maryland, but I spent the better part of my adult life in Orlando, Florida, where I indulged my other great passion: all things Disney. I have worked in various leadership roles for Disney Live Entertainment (DLE) at Walt Disney World. I most enjoyed my time as a Stage Manager for DLE’s Equity stages, and I still do seasonal work in this capacity.
But I once again heard the siren song of traditional theater during the COVID lockdown. After leaving my full time job at the House of Mouse, I migrated back to the DMV area to prep for a life-changing year with SCTA. I am eager to work with all regional theater folk in the DC Metro area! Please feel free to connect with me on Instagram (@brett.m.earnest) or Facebook, or via the Contact portion of my website. I look forward to hearing from you!
I hold a BS degree from the University of Maryland, and my MFA was conferred by George Washington University, in partnership with Shakespeare Theatre Company. I also studied musical theater at the undergraduate level as part of a summer intensive program at Tisch School for the Arts (New York University).
Recent acting credits:
· For STCA: Romeo & Juliet(Friar Lawrence), The Rover (Ned Blunt), The Odyssey(Old Odysseus/Helios), Cymbeline (Cymbeline/Dr. Cornelius).
· For Georgetown University: Marino Faliero, Doge of Venice (Marino Faliero).
· For Johns Hopkins University / Goethe-Institut: Immanuel Kant (Cardinal).
"[As Friar Lawrence], Earnest’s shock when he receives news of Romeo’s intention to marry is followed by a pause as he empathizes with the emotions. He pauses (a quiet moment in an otherwise heightened production) and lays a comforting and supportive hand on Romeo — this was solidly an exceptional moment." (Julian Oquendo, DC Theater Arts)
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