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Martin Casella & Patrick Quinn

Patrick Dominic Quinn (February 12, 1950, Philadelphia – September 24, 2006, Bushkill, Pennsylvania) was an American actor and a former president of the Actors' Equity Association. Quinn's father was a mortician.

Quinn studied theater at Temple University. After graduation from college he took his first Equity role in a touring company of Man of La Mancha. He also helped start the Charade Dinner Theater, the first Equity dinner theater in metropolitan Philadelphia.

His first Broadway role was in the 1976 revival of Fiddler on the Roof. He also was in the cast of Lend Me a Tenor, Beauty and the Beast, A Class Act and the 1998 revival of The Sound of Music.

Quinn's television credits included a recurring role on the ABC sitcom Bosom Buddies and parts on various soap operas. He also appeared in all three current versions of the NBC crime drama Law & Order. Quinn's voice was also featured as the main character in a Schoolhouse Rock! song called Tax Man Max.

Quinn, who had been a member of Equity since 1970, was elected to the council in 1977. He was elected president in 2000. In 1987 he helped organize the non-profit organization Equity Fights AIDS, which later merged with Broadway Cares.

Patrick Quinn was an American actor and a former president of the Actors' Equity Association. Quinn died from a heart attack at his country home in Bushkill, Pennsylvania, aged 56. He was survived by his life partner of twelve years, Martin Casella. Casella spent three years as an assistant to director Steven Spielberg. He then spent the next few years pursuing an acting career (Spielberg’s POLTERGEIST), before he started writing for the theatre, television and feature films.

At the time of his death, he was scheduled to succeed Alan Eisenberg as executive director of the association.

Quinn died from a heart attack at his country home in Bushkill, Pennsylvania, aged 56. He was survived by his life partner of twelve years, Martin Casella, three brothers, Jimmy, Jerry and John, one sister, Lizanne, their spouses, and nine nieces and nephews.

Source: en.wikipedia.org/wiki/Patrick_Quinn

After graduating from California Institute of the Arts, Martin Casella spent three years as an assistant to director Steven Spielberg, on the films 1941; CLOSE ENCOUNTERS THE THIRD KIND: THE DIRECTOR’S CUT; USED CARS (as assistant to Bob Zemeckis) and the Academy-award winning classic, RAIDERS OF THE LOST ARK. He then spent the next few years pursuing an acting career, appearing in numerous plays, TV movies and features films, including a leading role in Tobe Hooper and Spielberg’s POLTERGEIST, before he started writing for the theatre, television and feature films.

In film and television, he has written for, optioned or sold screenplays to Steven Spielberg, Lasse Hallstrom, Whoopi Goldberg, Rob Reiner, Dan Petrie Jr., John Milius, John Badham, Francis Ford Coppola, Herbert Ross, Bruce Cohen, Anthony Edwards, Kerry Washington, Disney, Universal, HBO, The Ladd Company and Paulist Productions. His original screenplay ONE NIGHT STAND was directed by Talia Shire and starred Ally Sheedy and Frederic Forrest. TV projects include the film BEHIND THE LENS for CBS, and DADDY’S GIRL, an HBO pilot, and a stint as a writer on ABC’s One Life to Live. He recently adapted David Johnson’s play BUSTED JESUS COMIX for the screen for director Leon Joosen. His current feature project is TOM’S DAD, for Emmy Award-winning producers Joni Levin and Keith Clarke, to be directed by Oscar-nominated director Lasse Hallstrom.

In the theatrical world, his plays have been seen at the Pasadena Playhouse, the Odyssey, Coast Playhouse, Coronet, Cast and Crossroads Theatres (Los Angeles); the Acorn Theater, the Soho Playhouse, TBG Theatre, Ernie Martin, Linhart and Access Theatres (New York); Village Theatre and Group Theatre (Seattle); Mosiac Theatre (Fort Lauderdale); Bailiwick, Theatre Building (Chicago); Attic Rep (San Antonio); Short North Stage (Columbus), Stage One (Wichita); Paper Mill (New Jersey); Theatreworks and Goodspeed (Connecticut); Walnut Street Theatre (Philadelphia); Ford’s Theatre (Washington); the Queen City Theater (Charlotte, N.C.); the Bunkamura Theatre (Tokyo); and in London, Edinburgh and Dublin.

His most well-known play, THE IRISH CURSE, opened Off-Broadway in March, 2010 to rave reviews. It premiered at the 2005 New York International Fringe Festival, where it won the overall excellence award for Outstanding Playwriting. It was also produced at the 2006 Edinburgh Theatre Festival and the Dublin Gay International Theatre Festival in May, 2007, where it was one of the five finalists for the Oscar Wilde Best New Writing for the Theatre Award. Since its critically acclaimed off-Broadway run, THE IRISH CURSE has played to sold-out houses in London, along with Portland, Columbus, Fort Lauderdale, San Antonio, Charlotte and all across America. It opened in the 2012 in Los Angeles at the Odyssey Theater, where it had a three-month sold-out run, and was nominated for a GLAAD Award for Outstanding LA Theatre Production.
Source: martincasella.weebly.com/

Further Readings:

The Irish Curse by Martin Casella
Paperback: 70 pages
Publisher: Samuel French, Inc. (September 15, 2010)
Language: English
ISBN-10: 0573698910
ISBN-13: 978-0573698910
Amazon: The Irish Curse



What "The Irish Curse" is - and how it manifests itself - is the raw centerpiece of this wicked, rollicking and very funny new play. From its blistering language to its brutally honest look at sex and body image, The Irish Curse is a revealing portrait of how men, and society, define masculinity. In doing so, it dares to pose the fundamental question that has been on the minds of men since the beginning of time: "Do I measure up to the next guy?" Size matters to a small group of Irish-American men (all professionally successful New Yorkers) who meet every Wednesday night, in a Catholic church basement, at a self-help group for men with small penises. This alleged Irish trait is the focus of their weekly sessions, as they all feel this "shortcoming" has ruined their lives. One evening, when a twenty-something blue-collar guy joins the group, he challenges everything the other men think about "the Irish Curse" ...tackling their obsession with body image and unmasking the comical and truthful questions of identity, masculinity, sex and relationships that men must face every day in the world.

"Casella is at his best when he's going for laughs. He gets a lot of them." -The New York Times

"Critics Pick! Colorful character-driven comedy." -Time Out New York

"The Irish Curse is a very human and even humane play. You will find yourself rooting for these esteem-building sessions to succeed." -Michael Kuchwara, Associated Press

"ONE OF THE BEST PLAYS OF THE YEAR! Truly original, truly hysterical and truly touching! You will be enthralled! -Talk Entertainment

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