has appeared in numerous benefits and readings, most recently the
LAB benefit show “Love & Revenge,” written and directed by
John Patrick Shanley. David’s latest stage appearance was this sum-
mer in the Off-Broadway play, “The Little Flower of East
Orange,” written by Stephen Adly Guirgis and directed by Philip
Seymour Hoffman-- a team that David works with often. The
ensemble cast of the production included Academy Award winner
Ellen Burstyn and David’s wife Lisa Colon-Zayas.
David is fortunate in that he is able to find work in all mediums.
He loves the stage, and film, but series television offers its own ben-
efits as well. He enjoys the steadiness of working on a television
series. “It is great to be on a show steady, week after week, so that
you have an opportunity to develop your character and also to work
with all the good people that I work with,” he says.
ences his acting. “My training as a police officer helps me with a
Getting the role in “Dexter” came as a surprise to him. "I was
lot of roles. One of the things is trying to size up people, trying to
shooting a film in Toronto at the time and I came to New York for
figure people out and pay attention to every physical aspect because
the weekend to see my wife and kids. That Friday there was an
it may save your life one day." It is interesting to note that psychol-
audition for Angel Batista and I met the director Michael Cuesta.
ogy, keen observation and an eye for detail are very important in
I didn't feel it was a very good audition and I went back to Toronto
both acting and police work. For the most part, David liked being a
not thinking I did very well. To my surprise, they called me to come
cop, but after going through a divorce he realized that he had placed
to Los Angeles and test for the role. I had a much better audition
his own dreams on hold in order to support his family. So, in the
and I got the part. The good thing about being a cop and playing a
early '90's David enrolled in acting classes while still working as a
cop is that there are a lot of things people take for granted -- the
cop. He enjoyed it and began auditioning for parts. He started get-
whole persona and psyche of being a cop. I have that in me, so it
ting walk-ons and bit parts and gradually David's talent was recog-
gives me the luxury of just concentrating on the character and the
nized. He appeared in many plays, and became a member of the
personal traits of the character and not really worrying too much
LAByrinth Theater Company, and got roles in television and film,
about the technicality of the law enforcement aspect because it
very fittingly, often playing a policeman.
comes naturally to me."
He has good range as an actor and can do more than just play
policemen though. In fact, much of David's skill and appeal lie in
his ability to play a variety of parts. For example, most people
remember him as the terrifying and powerful prisoner, Enrique
Morales, from HBO's “Oz,” but he also has wonderful comic tim-
ing, as many NYC theatre goers can attest to.
David was really able to hone his craft on stage as an original
member of LAByrinth Theater Company. LAByrinth began in
1992 when 13 actors joined forces to form a place to work. The
goal was to create a home where the group, for three hours each
week, could engage in a variety of theatrical exercises designed to
"push each others' limits and bind together into a tight-knit, unin-
hibited and impassioned ensemble - -one in which each member is
given the opportunity and support, not just to act, but to write,
direct, produce, sweep, paint, hang lights, etc." As a result, David
has well-rounded experience in all aspects of theatre. The compa-
ny as a whole has also developed into a success and it is now a res-
ident organization at the New York Public Theater. LAByrinth
turned out to be an important place for David in many ways; it was
also the place that he met his future wife, actress Liza Colon Zayas.
Later, David was fortunate enough to appear on Broadway in
the Pulitzer Prize winning Nilo Cruz drama, “Anna in the
Tropics.” In early 2003 at Off-Broadway's Union Square
Theatre, he played the role of Edwin in “Our Lady of 121st
Street,” written by Stephen Adly Guirgis and directed by Philip
Seymour Hoffman. Some of the LAByrinth productions he
appeared in include “Jesus Hopped the 'A' Train” (Off-Broadway;
Edinburgh Festival; Donmar Warehouse, London) and “In Arabia
We'd All Be Kings,” both written by Guirgis and directed by
Hoffman. Other theatre appearances include: “Den of Thieves,”
“Cutting Open Wings,” and “Divine Horseman.” In addition, he
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