As the building became a reality Walsh began networking within the arts world, both regionally and nationally. Locally he made contacts, serving on the board of Concert on the Green, the Clay County Tourism Committee and by directing theatre in Northeast Florida.

Furthering the THCA's position in the cultural arts business, Walsh became active regionally and nationally with the Arts Presenters Association (APAP), serving on the executive board of the Florida Presenters Consortium and The Performing Arts Exchange (PAE) of the Southern Federation of the Arts. Walsh recently served as a PAE panelist at the group's annual conference.

Born in Brooklyn, New York Walsh attended St. Cecilia's Parochial School. "I had a very Catholic education," said Walsh. "St. Cecilia is the patroness saint of music and at the school, l learned about music from Sister Sylvester, while Mrs. Burns opened my eyes to the visual arts. My love for the arts started there."

When Walsh was in the third grade his grandmother, a major influence in his life, took him to a performance at the world famous Metropolitan Opera House. The experience moved Walsh and fueled his desire to perform. "The opera was La Traviata," explained Walsh. "I was not sure what was going on throughout the performance, but I was captivated. I knew I wanted to perform."

As Walsh grew, his love for the arts blossomed. "Both my mother and father supported my love of music with voice and music lessons," said Walsh. "I was asked to sing on Ted Mack's Original Amateur Hour, but my mother thought it would be a bad influence. She of course did make sure I learned the instrument that all Italian boys growing up in Brooklyn play-the accordion!"

Walsh attended Delehanty High School where he was exposed to yet another great influence, his music teacher Bridget Maloney. Under the tutelage of Maloney, Walsh landed lead roles in the Gilbert and Sullivan operettas HMS Pinafore and Trial by Jury. This exposure prepared Walsh for leading roles in professional productions of The Mikado and The Pirates of Penzance later on in his acting career.

After graduating Walsh headed to Long Island and Hofstra University. There, for his first two years he studied music, but he later switched to a double major in theatre and speech.

Life at Hofstra afforded Walsh a wealth of experiences, and he was fortunate enough to study vocal interpretation with Richard Mason and Lois Crews, whose dear friend Margaret Hamilton, stared as the wicked witch in the Wizard of Oz. "Ms. Hamilton would come to classes and teach us how to do character voices," said Walsh. "This was a great learning experience."

Walsh's college performances were not limited to campus productions; he landed a role in the off-Broadway musical Pins and Needles - a revival production produced by the now famous Roundabout Theatre Company.

Following graduation in June of 1968, Walsh went on the road with his first professional Broadway musical Sweet Charity. He spent the next eight years acting and singing professionally in New York City and on the road, starring in off-Broadway productions, dinner theatre productions and national touring productions of Fiddler on the Roof, Mame, and Oliver. Walsh also spent time working in nightclubs in New York City and San Juan, Puerto Rico. Additionally, Walsh lent his talents to some small roles on the daytime dramas: Search for Tomorrow, Guiding Light and As the World Turns.

While forming the backbone of his professional career, Walsh continued studying his craft working with theater legend Sue Seaton. At the same time, Seaton was coaching her best friend Katherine Hepburn. "Ms. Hepburn, who was appearing in her only Broadway musical Coco," explained Walsh. "I use to get to my voice lessons early so I could sit in the waiting room and hear her vocalize before her Wednesday matinees."

One day as Walsh was waiting, Hepburn emerged from the studio doors and exclaimed, "I'm sure it would be a much better experience for all of us if I sat in the waiting room and listened to you vocalize!" The memory of this meeting has never left Walsh.

Through Seaton, Walsh met his first professional mentor, award - winning actor Jose Ferrer. Ferrer later cast him in the title role of A Song for Cyrano, a musical version of Cyrano DeBergerac. The production was written and produced by Ferrer with music and lyrics by the famous American song - writing team of Wright and Forrest.

The show premiered at Hope College in Michigan, and while Walsh toured with the production for a year he developed a life long friendship with Ferrer.

After leaving Hope College, Walsh attended Adelphi University, but it wasn't all books as he worked on his master�s of arts in educational theatre while operating his one-man Storyteller Theatre and appearing in small roles on the daytime drama Search for Tomorrow.

Receiving his master's in 1976, Walsh did not attend his graduation ceremony; instead he packed up his belongings and headed south to North Carolina, where he joined the faculty of the prestigious North Carolina School of the Arts.

Walsh adapted to life on the Winston-Salem campus teaching, writing and directing plays. In the summers he would return to the Big Apple, staying active in the competitive theatre market the city is famous for. His play, Tales of the Disco People, was optioned by the powerful New York agent Bill Barnes. Barnes handled many celebrities including famed playwright Tennessee Williams.

Through Barnes, Walsh met Tennessee Williams. The meeting gave Walsh the unique opportunity to have his play reviewed by the legend. "I came away from that experience with advice on my writing skills and suggestions on how to focus my creative energy in a different more successful way," said Walsh. "It was truly one of the highlights of my career."

Barnes later introduced Walsh to his future writing partner Louis St. Louis. The two would begin a lifelong creative collaboration and friendship that remains strong today.

In 1990 a collaboration of St. Louis' and Walsh's would receive artistic recognition, when their musical Sugar Hill was nominated for the prestigious Audelco Award, which is given annually for contributions in African-American theatre.

Walsh was enjoying success in North Carolina, his plays were being produced and recognized regionally, but New York called. For months several agents tried to persuade Walsh to return to his native city, at the same time a smaller arts school in Palatka, Fla. was calling.

In 1981, Walsh left New York City arriving in St. Augustine, he joined the faculty of the Florida School of the Arts (FloArts), beginning his long relationship with both SJRCC and the Northeast Florida Community.

Two years later SJRCC president Dr. Robert L. McLendon appointed Walsh to serve FloArts as dean. That same summer Walsh assumed the position of artistic director of Cross and Sword, the state play of Florida.

While at FloArts, Walsh continued writing and directing plays, and in 1983 he was one of five playwrights to work with three-time Pulitzer Prize winning playwright Edward Albee at the Atlantic Center for the Arts in New Smyrna Beach, Fla.

Through FloArts Walsh developed a close friendship with world renowned photographic artist Jack Mitchell. Upon an invitation from Walsh, Mitchell served the school as an artist residence. His support to SJRCC and Walsh continues today in the form of donated collection. The photographs his donated are now part of the THCA permanent collection and were celebrated in 2004 as part of the Center's inaugural season.

Collaboration between Albee and the five playwrights produced Scenes From a Non-Marriage. The play premiered at the Atlantic Center for the Arts and later at FloArts.

In 1991 Walsh left FloArts to head up the Institute of Entertainment Technologies at Valencia Community College in Orlando, Fla. While in the position, Walsh started a television production department and was responsible for writing and directing several television programs which aired regularly on Time Warner Cable. "My most memorable experience in Orlando," said Walsh, "was working with four-time Academy Award winning film director Robert Wise, as assistant producer for the short film Best Two of Three."

Today Walsh awaits the success of the THCA, under his guidance it is sure to happen. "I've had the unique opportunity to work with many creative and gifted individuals in my career," said Walsh. "I am truly indebted to them for their mentoring and for the friendships and relationships that have evolved. I feel this support will help me make the THCA a major player in presenting the cultural arts in Northeast Florida."

See you onstage and in the gallery... Tony Walsh


Back to Top