Is it weird to think that an actor has done it all at only age 31?
Maybe. Still, that’s the impression I got after talking with Quinn Patrick Shannon.
Over the last decade, you’ve likely seen Shannon star in regional shows of all genres in venues of all sizes. It’s also true that his incredible talent is directly proportional to his generosity and work ethic.
Those values were fostered in him at a very young age. Although he grew up in the Pennsylvania suburbs of Washington and Bethel Park, he identifies as a Pittsburgher. Between his father’s work and his mother’s acting career, Quinn’s family spent a lot of time in the city. She co-starred in a musical comedy that literally defined the phrase “back by popular demand”, Nunsense.
His connection to the city actually goes back further than I ever imagined. The Shannon name has a lot of weight when dropped around baby boomers. Quinn’s grandfather was local media legend Paul Shannon. He emceed KDKA’s Dream Weaver and WTAE’s Adventure Time throughout the 50s, 60s, and 70s.
Paul Shannon passed away when Quinn was young, but his legacy has followed Quinn ever since. One of Quinn’s Grease cast mates showed him a 50-year old ticket stub from one of his grandfather’s shows. It was only a non-native Pittsburgher like me that confused that classic Adventure Time with the modern Cartoon Network show of the same name.
I made him chuckle when I suggested that he was part of a performing dynasty, but I think the proof is in the pudding.
Even though it was a “million years ago” his brother was in a production of Peter Pan, Quinn still cites him as his “first and best acting teacher”. When his mother asked him if he wanted to be in shows, he replied with a resounding yes. His career as a child actor kicked off in similar fashion to many kids looking to find work on the Pittsburgh stage.
Three words: A Christmas Carol. At age six, he debuted with Pittsburgh Musical Theater as their first Tiny Tim.
He followed in both his siblings’ footsteps by graduating from Point Park University with a theatre degree. Recently, he revisited his first conservatory credit, Hair, not as an actor among his peers but as a director of teenage members of PMT’s own conservatory. He relished the chance, saying “there’s nothing like kids doing that show”. Rather than burdening his Hair with a Trump-hating agenda, he mounted the show as a thwarted “celebration of youth” and gave into its trippy moments. For Quinn, the job of directing children is twofold: ensuring that the kids learn and keeping their parents happy.
Frequent collaborator Guy Stroman and Pittsburgh Public Theater Artistic Director Ted Pappas have been two influential directors in Quinn’s career.
Stroman’s vast body of work includes originating the role of Frankie in the 1950’s jukebox musical revue Forever Plaid. In 2013, Quinn played Frankie in a pseudo-sequel to that show called Plaid Tidings. That experience was where everything truly “clicked” for him. Realizing that acting was his true calling on this project was a feeling he compares to falling in love. He credits Stroman with teaching him the value of “having a vision” and being meticulous as a director.
Pappas is responsible for casting Quinn in one of his dream roles, Nicely Nicely Johnson in last year’s production of Guys and Dolls.
“That offer was THE offer.”
He admits that there’s always pressure performing such iconic material but, as an actor, he thrives on it. Performers crave larger stages (Broadway, TV, film) because greater exposure often leads to bigger breaks.
CLO’s Cabaret at Theater Square is certainly not the biggest stage that Pittsburgh offer, but Quinn maintains that it’s the best job in the city. He’s performed there a few times including in the hardest show he’s ever done, The 39 Steps (also directed by Stroman). It’s a slapstick riff on the classic Hitchcock film of the same name in which Quinn portrayed several characters. The secret to succeeding at the Cabaret is building the stamina to perform the frequently extended runs. That involves forging good relationships with the cast and crew, taking care of your body and voice, and not letting the show “get away from you”. More than anything, shows in that setting require focus.
Offstage, Quinn enjoys playing the drums, a 16-year old pastime of his. When he lived in New York City, he was a member of about six different bands. He also wrote and recorded some solo music. It’s been a while since he flexed those muscles, but he’s eager to get back in that arena sometime soon.
This year, he also plans to arrange further readings of an original script he’s been working on with his best friend and roommate. He declined to reveal more about the project, insisting it be (literally) a surprise.
The last time Quinn led a PMT production was in the role of Quasimodo (pictured above) in The Hunchback of Notre Dame. This rare chance to carry a show was a “surprisingly special” opportunity for him. Alan Menken’s score definitely took a toll on voice by the end of each show, but it was well worth it.
“When I came out for that last bow, it really meant a lot to me because I’m not going to get a lot of those being a character actor.”
The life of a character actor can be a difficult one spent in the shadows of people who fit the elusive leading man/woman type. If a person sticks it out though, there’s the chance for someone in a supporting or unconventional leading role to eclipse his co-stars and dazzle audiences.
Quinn Patrick Shannon is a proud, self-professed character actor. But, in my eyes, the sum of his charmingly self-effacing nature and positive attitude equal more than that. What his resume and bio won’t tell you is that he is also an actor with character.
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