“I first started acting at the age of 15 while I was working as a stable boy at an all girls summer camp in Vermont. They needed any of the laboring boys who wanted to to be in the plays and, as it was a great chance to spend more time with the girls, I gladly acted in any show for which they wanted me. The Brown Ledge Theater performs 16 shows every summer so there were many opportunities. There were also many small projects put together by the girls and when a 12 year old named Sarah Bell asked me to play the imaginary Clown in A One-Act called SAY GOODBYE TO THE CLOWN I was more than happy. The little girl playing the lead managed to say her first line but completely blanked on the rest of her lines and I being her imaginary clown friend had to improvise the entire play. I had never been so terrified in my life--including when I capsized a boat on Lake Huron--and it was wonderful. So much so that I couldn't be kept away from the theater after that. I gave up all my sports, began taking acting and dance classes and made my way into any show that would have me.”

Grant Neale has performed in more than 200 plays, Operas and films. He was a member of the Jean Cocteau Repertory Theatre for three years where he performed in 15 Classical plays under the direction of Jonathan Bank, Robert Hupp, David Herskowitz and the late Eve Adamson. He also had the good fortune to be a member of the legendary Ridiculous Theatrical Company for five years under the direction of Everett Quinton. Since then, he has had the pleasure of playing many of New York’s great downtown theaters including the Ontological-Hysteric, P.S. 122, LaMama, the Ohio, Walker Space, The Actors Playhouse, and The Kitchen. Outside of New York, Grant’s work in plays and Operas extends from San Francisco, Los Angeles, Seattle, Santa Fe, Milwaukee, Philadelphia, New Haven, Phoenix, to Edinburgh, Berlin, Hamburg, Hanover, Bucharest and Sibiu.

He has the honor of originating several roles for plays that have since been published including Lech in Georg Osterman’s “Brother Truckers” which ran for six months Off-Broadway and subsequently at London’s famed Drill Hall and Edinburgh’s Travese Theater(1993), Gabriel in Everett Quinton’s LINDA with music by Mark Bennett(1994), Marius Mintsingue and Buck Arnge in MURDER AT MINSING MANOR by Michael and Richard Simon (1995), Monsieur in THE SHADY MAIDS OF HAITI by John Jahnke(2003), Solly Schmidt in a new translation of Bertolt Brecht’s A MAN’S A MAN by Eric Bentley which originated at The Jean Cocteau Repertory(1990), Nicholae Ceausescu in Saviana Stanescu’s WAXING WEST produced by East Coast Artists at LaMama and subsequently performed in Bucharest and Sibiu Romania (2007), as well as Klingsor/King of Pain in the world premiere of Susan Sontag’s A PARSIFAL which had its first performance in 2006 at P.S. 122.

Mr. Neale claims gullibility as his greatest asset for acting because it makes him capable of believing in any circumstance, and taking everything personally. He enjoys putting the characters internal traits into a physical form for the stage.

After receiving his B.A. in Acting and Theatre from Siena Heights University, Grant moved to New York City and studied the Meisner Approach with James Price at the Acting Studio. He is also a student of the master teacher and coach Stephen Jobes. He studied Acting For Film with Tom Brangle. He has had extensive movement and voice training over the years including twenty years of Simonson Technique (modern), ballet, dance partnering, gymnastics, Laban, sign language, yoga, and Commedia. This work has lead Mr. Neale to become a teacher of Movement for Actors, and the Meisner Approach.



"Funniest of all was Grant Neale...who found that all important vein of broad physical comedy just before it spills over into bludgeoning schtick."
San Francisco Chronicle , Die Fledermaus







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