Tom Edmond Evans

Tom Evans

A season-ending knee injury took Tom away from high school football super-mediocrity, but opened him up to new dreams. He might not be able to run, but that didn't stop him from strapping on some spurs with his knee brace to play a dancing Territory Folk in "Oklahoma". From there, he fell in love with an ever changing theater family, and is constantly amazed at the passion, love, and beauty they can create working together. As an actor and director, he continues to seek out exciting and creative kindred souls to drive and inspire him on his journey as a performer, and as a man. The family at Original Binding does just that.

Since his debut as a territory folk, Tom Evans has spent the past 20 years playing a wide range of roles in companies across the country. After graduating from Alfred University with a double Bachelor’s Degree in Theater and English, Tom was fortunate enough to work with the American Shakespeare Center. It was during this first tour where he learned to love Shakespeare, especially when performed with the ASC approach. He was trained in the field to focus on Shakespeare’s eloquent (and bawdy) language to reach out and truly connect with an audience. It was with the ASC that Tom learned that Shakespeare need never be feared or inaccessible, and could truly be a wonderful theatrical event. Carrying that experience forward, Tom spent two years with the National Shakespeare Company, playing such roles as Nick Bottom, Toby Belch, Lord Capulet, King Claudius and others. During his tenure with the NSC, Tom also joined the fledgling Prospect Theater Company which continues to produce acclaimed productions today.

His affiliation with Prospect allowed him to meet and work with some of today’s brightest theater stars. Tom originated the role of Mayor Keller in The Flood by Peter Mills and Cara Reichel (Kleban Award, Fred Ebb Award, Jonathan Larson Award). He next created the role of Ben Franklin in The Franklin Thesis directed by Alex Timbers (Bway, Bloody, Bloody Andrew Jackson; Peter And the Starcatchers). He also honed his swordfighting skills under the watchful eye of Broadway fight choreographers Rick Sordelet (Romeo and Juliet) and Jacob Grigolia Rosenbaum in the Spanglish language piratical romp, The Buccaneer. During his tenure in New York City, other favorites included Mercutio and Benedick for the Company of Players, Petruchio with Hudson Shakespeare, Dromio of Syracuse with Moon Soup Productions.

In 2006, after a failed attempt at a grown-up job path, Tom returned to regional theater in New York and Long Island. As a company member of the Arena Players, Tom was able to play roles from Father Flynn in Doubt to Henry in Lion in Winter. Arena also allowed Tom to return to Shakespeare at the beautiful Vanderbilt Mansion on the Gold Coast of Long Island. Reprising Toby, Claudius and Mercutio, and playing Paris, Tom made several life-changing original bindings. The first was meeting his beautiful and immensely talented wife, his Juliet, Maryellen Molfetta. Also important, but with less kissing, was his first meeting with Founding Partner Tom Slot.

Beyond their nimble sword and scenework as Tybalt/Mercutio and Laertes/Claudius, Tom S. and Tom E. quickly bonded over their shared aesthetic and sense of community (and comic books.) Since then, the Toms have successfully collaborated on a number of projects – Tom Evans recently directed the workshop production of Tom Slot’s The Father of Songs, and played Captain Tom Haskins in the inceptive reading of Farewell to Sanity and Other Rational Constructs.

Other favorite roles include Bialystock in the Producers, Baron Danglars in the Count of Monte Cristo, Jack in The Importance of Being Earnest, and several One-Act Play Festivals at Theater Three in Port Jefferson. Directing credits include Martin McDonough’s The Pillowman, The Drowsy Chaperone, The Woman in Black, Prisoner of 2nd Avenue, and a number of Shakespearean productions.