keithblaney.com
Manager: Judy O Productions 323-646-0220
Keith Blaney - SAG-AFTRA - AEA
Theatrical & Commercial Agent: Almond Talent,
Aur-Aurelion Israel: 323-934-5500
Keith blaney Headshots – by Robert Kazandjian
Keith Blaney bio
A Lifetime of Acting & Storytelling...
Born and raised in Miami, Florida – Keith received his degree in theatre from Florida State University and went on to a post-graduate acting internship at the Alliance Theatre in Atlanta, Georgia. He’s been acting on stage, screen, and television for over 25 years as well as developing, writing, and performing a wide range of projects and solo performances, from years of sketch comedy to a critically acclaimed run of Wallace Shawn’s politically charged monologue, “The Fever” at Area Stage on South Beach.
His most recent television appearances include episodes of “Fargo,” “Future Man” and “Tim and Eric’s Bedtime Stories.”
Keith’s work on stage in LA includes critical acclaim in the Los Angeles premiere of “The Lepers of Baile Baiste” at the Celtic Arts Center. He’s also very proud of his work as Nurse RU486 in “Hollywood Hellhouse” at the Steve Allen Theater.
At the end of 2016 he wrapped up his critically acclaimed dual-role turn in The Next Arena’s world premiere production of “Vonnegut USA” as well as performing with Firesign Theatre co-founder Phil Proctor in the SAG-AFTRA Radio Plays production of “An Evening with The Firesign Theatre, or Something Like It.”
Along with developing screenplays with his writing partners Charlotte Glover and Adam Libarkin, he's a happy veteran of several different local storytelling venues, including LA’s longest-running spoken word forum, Sit ‘N Spin at the Comedy Central Stage. His story “Crayons” was published by Phoenix Books in “Dirty Laundry,” an anthology of Sit ‘N Spin stories.
All Things Building D...
Keith met Adam and Charlotte in Miami. Together they produced, wrote for, and performed in a very successful South Florida sketch comedy show, playing to sold-out audiences across Dade and Broward counties.
The three of them then started Building D Productions,which began as a boutique ad agency. They provided advertising and marketing solutions to large and small companies, creating comprehensive campaigns for clients such as Toyota and the FedEx Orange Bowl. In addition, Building D served as the agency of record for local clients like Miami Jai-Alai and the Miami-Dade County Youth Fair, developing overall advertising strategies, that included print, television, radio, and outdoor media.
During this time they also began developing and writing original material for television and film, while continuing to grow new sketch comedy-related projects.
Since relocating to Los Angeles in 2001, Building D has written several screenplays in conjunction with various producers, and we’re grateful to have sold/optioned several projects – scripted and unscripted – while we continue to develop our own unique Building D brand of projects for television, film, and the ever-growing world of digital media.
Reviews: "Vonnegut, USA"
http://lapostexaminer.com/vonnegut-usa-makes-hilarious-debut-atwater-village-theatre/2016/10/18
“One stand out performance comes from Keith Blaney who nails it as a cigar-smoking aficionado of “girlie” magazines.”
Ron Irwin. Los Angeles Post-Examiner.
““Hundred-Dollar Kisses” is the evening’s most polished and hilariously realized segment. It opens with Pelk interrogating mild-mannered records manager Henry George Lovell Jr. (Paul Plunkett), who haltingly describes his apparently unprovoked assault against [Vern Petrie (the amazing Keith Blaney), a corpulent and louche {FFF} executive with an unhealthy fixation on men’s magazines] and the centerfold model Patty Lee Minot (Marjorie LeWit).”
Bill Raden. LA Weekly.
“A notable exception is Keith Blaney, doing double duty as a monstrous, perverted FFF employee and as a beleaguered small-town husband. Blaney has the strongest grasp on the material, showing how even Vonnegut's most offbeat creations are recognizably human.”
Joshua Kahn. discoverhollywood.com
http://stageraw.com/2016/10/27/vonnegut-usa-theater-review/
“A reason this particular narrative works so well has to do with the well-grounded performances of Plunkett as the owlish Henry and Blaney as the wild-eyed, red-faced Vern, panting and drooling over his cherished nudes.”
Deborah Klugman. stageraw.com
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