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Jeffrey James Ircink

  • Drama
  • Film
  • Literature
I am a Theatre Professional I am a Film Professional I am a Literary Professional

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artist bio

Jeffrey James Ircink has worked in theatres and film in Milwaukee, Cedar Rapids, Iowa City and Los Angeles. Favorite roles include Tom in THE GLASS MENAGERIE, Jack in JACK AND JILL, Mickey/Narrator in BLOOD BROTHERS, Martin/The Old Man in FOOL FOR LOVE, Space Punk in STARMITES and special guest artist for A MODERN SALON/2012 at Brucemore Mansion in Cedar Rapids.

Jeff's original plays have taken him to Belfast, Sydney, New York City, Seattle, Miami, Louisiana, Fort Lauderdale, Canada, Dayton, Bel Air, Cedar Rapids, Iowa City, and Milwaukee. Written work for the theatre includes: STAN'S ADDICTION, CHROMOSOME 21, HOW TO KILL A BOY, REVEILLE!, A PROMISCUOUS, BILLY BALFOOR WANT AN APOLOGY and THE BED. The short film, PASS THE SALT, PLEASE, an adaptation of Jeff's award-winning, 10-minute play of the same name, is an official selection to 2011 film festivals in 33 film festivals around the world, including Sydney, Palms Springs (2011 Jury Award, Special Citation, Best OnScreen Pairing), Big Sur (Gala Finalist), Los Angeles (ShortsFest), San Jose (Cinequest - Special Jury Prize), Warsaw (Poland), London (Raindance), Austin, Chicago, WorldFest (Houston _ Gold Remi Winner), The Really Funny Horny Goat International Short Film Festival (Audience Favorite) and Milwaukee, and stars Academy Award nominee Seymour Cassel and Emmy-winner Fionnula Flannagan, with actors Jonathan Rhys Meyers and Rhada Mitchell as executive producers.

Jeff blogs at PASSION = TRUTH -, hunts, fishes, walks, gardens and lives in an "original" in Greendale, WI. He is currently working on the historical drama, The Exoneration of Daniel E. Sickles. Jeff holds a BA in Journalism from the University of Wisconsin-Whitewater but has never aspired to become a journalist.

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artist statement

As an actor, my approach to roles has been what would I do if I were this character in this situation? Similarly, as a playwright, dialogue - not so much what is said but how it's said - and subject matter are the elements I'm most concerned with. I tend to place myself in circumstances few people contemplate, and then develop a plot around those circumstances. I love extremes - a tap on the shoulder isn't nearly as effective as a punch in the gut. That being said, when I write about the last smoker on the planet or one man's attempt to rid the world of the most evilest boy on the planet, I'm not going out of my way to be different as much as I'm trying to bridge the gap between my tastes and that of the audience. In the end, if the "unreal reality" I've helped to create on stage affects one person's "reality" - I've accomplished my mission.