photo credit : curtis & cort


  • Native Son of The South : born and raised in Georgia...
  • Adopted Son of The Midwest : trained and began work during five years in St. Louis and seven in Chicago...
  • Naturalized Citizen of California : seven heavenly years in Santa Cruz, CA and environs...
  • Mountain Man for a Moment : four years in the Appalachian mountains of Kentucky...
  • Gypsy : four years on the North American road...
  • New Yorker : two years claiming the big city as home base...
  • Repeat Offender : twenty months back on the road...
  • New Yorker 2.0 : currently enjoying round two in the big city including three Broadway shows and counting...


Christopher made his Broadway debut at the Neil Simon Theatre in the 2013-14 season, playing Senator Strom Thurmond in All The Way opposite Bryan Cranston as President Lyndon Johnson. He followed that with two separate stints in Kinky Boots at the Al Hirschfeld Theatre, as George in winter of 2015 and then as Mr. Price the spring of that same year. The first half of the 2015-16 season found him in the original cast of Amazing Grace at the Nederlander playing Monsieur Clow, et al., and understudying Tom Hewitt as Captain Newton.

Just before Broadway and just on the other side of the river in New Jersey, Christopher played various and sundry denizens of Western, Eastern, Central Middlesex County in the George Street Playhouse production of Getting The Band Back Together (2013). Oh, yeah… That was the show in which he also played legendary rocker, Joe Perry. Yup. Sure did.

Prior to Perry, Christopher played the (mostly) harmless Ali Hakim• in Oklahoma! at The Berkshire Theatre Festival—in order to recover from twenty months playing seven different kinds of mean white cracker on the First National Tour of Memphis (2011-2013).

Just before Memphis, Christopher spent time horrifying the good burghers of the Berkshires as Uncle Ernie in The Who's Tommy and seducing the somewhat stunned audiences of Dayton, OH as Aldolpho in The Drowsy Chaperone (2011) Latin- and Sino-American relations will never be the same. Trust me.

His New York debut was as Hitler (yes, that Hitler) in The History Of War (2010), a new musical by composer Deborah Abramson, lyricist Amanda Yesnowitz, and book writer Chip Zien (yes, that Chip Zien) as part of the New York Musical Theatre Festival. Before that, he played the entire First National North American tour of Monty Python’s Spamalot (2006-2009)directed by Mike Nichols and choreographed by Casey Nicholaw. His Mrs. Galahad was seen throughout the U.S and Canada, and his King Arthur led the company in San Diego, San Jose, Minneapolis, St. Paul, Kansas City, Tucson, Nashville, Jacksonville, Ft. Myers, and Hershey, Pennsylvania, where the air really does smell of chocolate.

Regional acting credits include: Copenhagen (Heisenberg), 1776 (Rutledge), The Lion in Winter (Geoffrey), Twelve Angry Men (Juror #2), Measure for Measure (Claudio), Ostrovsky’s A Family Affair (Lazar), Candida (Lexy), Trask & Fenn (William Fenn), and The Boys Next Door (Barry). Regional directing credits include: Camelot, Die Fledermaus, Guys & Dolls: In Concert with Jeff Tyzik and the Rochester Philharmonic Orchestra, Billy Bishop Goes To War, Wesley Middleton’s Tomato Plant Girl (director/composer), James Still’s Meet Me Incognito (director/composer), and the world premier of José Cruz Gonzáles’ Earth Songs.

Christopher has been an artistic associate with Geva Theatre Center in Rochester, NY, The Theatre Building in Chicago, and Metro Theater Company in St. Louis. He is proud to have taught with and designed curriculum for the internationally recognized education department of the Oregon Shakespeare Festival. Christopher graduated from and has served as guest director and faculty member at Webster University’s Conservatory of Theatre & Dance, St. Louis. He is a member of Actors' Equity, The Screen Actors' Guild/American Federation of Television and Radio Artists, and The Stage Directors and Choreographers Society.

*Gurr was a last-minute replacement as Hakim and may well be the last white man to play the roll on the professional American stage. Look it up.


              The good ones are never good enough and the bad ones are upsetting.

              — Richard Burton

I try—and mostly succeed—in ignoring reviews. The few that make it into my consciousness by some nefarious route never fail to give credence to Mr. Burton's lament. In any case, if you want to see my reviews, Google me. They're out there.


Artistic Associate, Geva Theatre, Rochester, NY
1996 – 2006 

Artistic Associate, Metro Theater Company, St. Louis, MO
1998 – 2000 

Artistic Associate, Theatre Building Chicago/New Tuners, Chicago, IL
1994 – 1996



Screen Actors' Guild / American Federation of Television and Radio Artists
2011 – present

The Stage Directors and Choreographers Society
1999 – present

American Alliance for Theatre Education
1999 – 2008 

The United States Center for the International Association of Theater for Children & Young People
1998 – 2008 

Actors' Equity Association
1994 – present