WIT Red Carpet - 2007 Awardees

DAN LAURIA has appeared as a guest star in over 70 television episodic programs and more than 20 Movies of the Week. He has a score of film credits which include, Stakeout, Another Stakeout, both with Richard Dreyfuss and Emilio Estevez and the commercial blockbuster, Independence Day and most recently Big Momma Two with Martin Lawrence. However, Dan is most recognized as the Dad on the highly acclaimed, Emmy winning, ABC television show, The Wonder Years.

Dan is a very similar face to the off-off, off and regional theatre scene having performed, written or directed over fifty professional productions.

Dan starred in the Long Wharf Theatre production of Willy Holtzman’s controversial play, Hearts. Before that Dan was in the Coconut Grove production of Arthur Miller’s, The Price, with the great Jack Klugman and directed by the legendary Bob Kalfin. He performed with the one and only Charles Durning in the Westwood Country Playhouse production of Jason Milligan’s, Men In Suits after which Dan toured with his former television co-star, Fred Savage, in the play Wendell and Ben, marking Fred’s professional stage debut.

More recently, Dan has performed The Guys by Ann Nelson both in NYC and on the road with his dear friend the wonderful Ms Wendie Malick. The Guys is a tribute to the brave fireman who lost their lives at the WTC on 9/11 and it’s a play that Dan is honored to be part of. Dan’s most resent stage appearances: Mark St. Germaine’s Ears on a Beatle; Ken Ludwig’s Leading Ladies; and Daniel Sullivan’s Christmas classis comedy Inspecting Carol, at the George Street Playhouse in New Brunswick, NJ directed by the talented David Saint. Dan returned to George Street recently to work with dear friend, Jack Klugman on Jeffrey Sweets riveting; The Value of Names.

For ten years, Dan served as the artistic director of The Playwrights’ Kitchen Ensemble (PKE) of Los Angeles. With partner, Joe Cacaci, PKE produced over 450 public readings of new plays with the finest actors in the business in order to promote the development of the new American playwright and to seek literary representation for new writers.

Dan does not do plays written by old dead white guys.