Meet Parker Gray

I grew up 30 minutes South East of Dallas in a small, conservative town called Combine, Texas. To me, my story feels like it started out as any story from a small Texas town does – I lived in the same area for my entire adolescent life, I attended the same church, and my friends changed as I grew, but I found that core group of mainstays that withstood the test of time. My story only really differs in perhaps what I wanted and chose to do with the rest of my life. I knew pretty early on that I didn’t want to go into the regular fields that my peers and family were venturing into – I hated math, but I was good at it, I liked science, but becoming a “scientist” was just a childhood dream – I wanted to act. So, I quit basketball my sophomore year and decided to focus solely on theatre. I then went to SMU for Acting, graduated in 2016, and have been working professionally in the metroplex ever since. I’m really so happy and grateful that I get to do what I love as a full-time job, and right now, Dallas still feels like it can be home for me – it still has some holes for me to fill.

Appreciate you sharing that. What else should we know about what you do? What are you most proud of in your work?
I am a full-time Actor, Teaching Artist, and new Playwright! If you asked my peers within the community about my acting, they would probably classify me as a “character actor.” I wouldn’t say they’re wrong – I strive to make bold as hell character choices and not put myself in any boxes. I want to play any character I feel I have the voice to lend. I want to be messy, pristine, chaotic, and reserved. I love to play the comic relief and then turn around and play the villain in the next project. I think I am known for throwing myself into a role with full abandon and not being afraid to look “ugly” – whatever that means to you. But I also want to be challenged. I want to sink my teeth into something that demands time, diligence, and respect. I just flat-out love acting and the craft – and I’m hungry to be pushed.

What am I most proud of? This is a really hard question for me because I don’t necessarily want to establish “mountains” or “valleys” within my work. I try really hard to remind myself that there is always something to learn and you can always be better – so I struggle to celebrate little victories here and there. I’m also quite young, and while I feel like I have begun a body of work to showcase, it feels a little silly to be proud of it. But for this, I will try. I will say that within my 6 years of professional work there are some things I am truly proud of. First would be the role that really gave me some traction within this community and business – Hand to God by Robert Askins at WaterTower Theatre directed by Joanie Schultz. This role was everything I could ever want as an actor, and the entire team we had working on it was a dream. Those in the DFW Theatre community probably know it well as the show that shocked Addison and WaterTower Theatre – but beyond its small “scandal” (insert eye-roll here), I am so proud of the work we all did and that I was able to do. It was the first show where I felt I had a case to state for who I was and the type of artist I wanted to be. And I’m really proud of it and what it has done for me. Recently I’ve also had the privilege to do two leading musical roles that have been absolute joys and make me feel like I am taking my career into my own hands again. Those being: Stede Bonnet: A F*cking Pirate Musical by Nicole Neely and Clint Gilbert at Theatre Three and Young Frankenstein at Circle Theatre. One is a brand new, world premiere musical, and the other a dream role and show. Getting to create a new role alongside such hungry and inspiring artists for Stede Bonnet has been like drinking from the Fountain of Youth. That show brought me some really great new colleagues and friends who rejuvenated me after the depressing slog that was 2020. I am so grateful for that opportunity and that the creatives trusted me with it. And then to immediately turn around and play Frederick Frankenstein in Young Frankenstein has been the complete opposite experience, but equally rewarding. Paying homage to the genius that was Gene Wilder and then finding myself within the character was like having an intricate, comic dance – and every night has been a freaking joy.

And then, as a new writer, I am really proud of the work I have been pumping out privately since 2021, but specifically my premiere play, Incarnate, which premiered as part of Undermain Theatre’s Festival of New American Play Readings in March of 2022. Incarnate is a horror play (I only write horror plays because who else is going to write them?) that was inspired by the events surrounding my father’s passing. A man kidnaps a young woman because he believes her to be his father reincarnated, and he’s trying to interact with his father’s soul and heal while also grappling with destroying someone else’s life in the process. It explores the questions of “What does grief do to you?” and “How far would you go to get out of it?” This was the first public reading of my work, and it was received really well – I’m hoping to be able to produce it in full soon and start developing my other works.

I am a firm believer in risk-taking. I try to do it every day in my line of work. I think we only learn by not being afraid to fail and that involves taking risks. Too often, I see young actors who are too timid and want to make the “right” choice or the “pretty” choice. Something that looks good in the mirror but maybe doesn’t actually mirror reality. Reality is messy and disgusting and imperfect, and I think in order to be a strong actor – you have to be fearless. Fall flat on your face. As one of my mentors, Michael Connolly, says – “Stink up the joint.” I just try to follow my guts, react to my scene partner’s truthfully, and trust that whatever comes up is either going to be a great choice or will so clearly point out that it’s not the choice. Both are valid and necessary. I think the work that is happening in the DFW Theatre community is getting better, but could benefit from more risks. And “risks” doesn’t always mean doing bold concepts or making wild choices – sometimes it’s as simple as doing the play, respecting the craft, and putting in the work.