I have a background as a writer, orator and artist, including work for the Daily Star, Gourmet News, and Taming of the Review to list a few, I am a hearst poet, a James Beard nominee, and I love this work.
Please find my production and performance experience as well as links to a few video examples that represent my range below.
My original stage performances (Bill Bowen; 'No Admittance' 2017 - encore 2018) comprised of direction and mentorship from E. Reid Gilbert as well as led to direction from from Vincent Flynn (Chief Bromden: One Flew over the Cuckoo's Nest; 2017). More recently my work under Maria Franco Caprlle and Winding Road Theater garnered local acclaim for my role as 'Trigoran' (Stupid Fucking Bird) with Kathleen Allen (Arizona Daily Star) saying, 'Richard Thompson's Trigoran was arrogant and a tad slimy' as well as Gretchen Wirges (Taming of the Review) stating, 'Thompson's Trigoran is smarmy, sexy, and yet wonderfully indicative of creative genius (of both the character and the actor). My work continued on main stage acting and has been considered a mark of consistency in my work efforts and ethics and extended to work as Cal; The Little Foxes the fall of 2019 to local acclaim as well. Work on the stage of Invisible Theatre, the longest running theatre in Tucson, comprised of 'Tiny, Beautiful, Things' (2021) and 'Emergency' (2022) as well being able to later work on the Pima Community College stage as Boy Willie in 'The Piano Lesson' of which garnered local press. This year I have been blessed with working as an understudy for the world premiere of 'Pru Payne' at the Arizona Theatre Company.
My V.O. work includes most recently The mad doctor in The Time Machine - https://shoutout.wix.com/so/42NCQ1lf1?fbclid=IwAR1jXdQCipg5OB5w_3BqAaIB8.... There are others through Streetlamp Productions and The Comedy Playhouse. I have begun working with Seelie Studios on a soon-to-be released audio drama series as a lead and I am very proud of that work.
In addition to my work on stage, I will be directing the upcoming production 'God Learns of the Death of Harambe' with Winding Road Theatre at the Cabaret Theatre. The two links below are my most recent stage and screen features in which were fully produced by me:
'The GRANDest Pageant' - A feature length live performance in which the audience was shocked into realizing they had unwittingly, yet decidedly, allowed the actors on stage to be increasingly humiliated and degraded as entertainment while being voted for ala a game show in which is revealed to be an auction. We were able to convincingly disrupt the audience into being unsure what they were seeing was the show or not. "It's all part of the show".And the audience didn't stop it. Tucson Fringe Festival 2019 presented it and it is now under consideration for a Sundance Documentary Fund (I requested 15k of 40) and that is why this fly-on-the-wall representation is available on youtube:https://www.youtube.com/watch?v=_hDqmqGYckw&t=1689s
'You.Know.Me?' (Short film; Written/Directed); - an original script written and directed by me (script doctor: Sara Jackson} Actors - Mike Guyll and Kristina Moser) in which is the short, intimate scene of a man and woman driving home and how it doesn't take eruptions of violence to make a woman terrified for her safety, nor does it take much loss in trust to destroy a relationship that is based on it. Sometimes all it takes is the sound of a door locking. This was nominated for an Apex award and I am still (if slowly) finding support from abuse foundations that could use it as an advertisement on non-focused abuse and tactics. https://www.youtube.com/watch?v=T1F6hoGxQxA
My IMDB page reflects my emerging presence in the film industry with additional works: ('Positivity' and 'The Wrong Guy'). I have most recently worked on "The Love Song of William H. Shaw' and in consideration for a lasting role in an upcoming series. My directoral credit for 'You.No.Me?' is found on this site as well.
I have worked with the Museum of Contemporay Art (MOCA) with visual artists such as Tra Bouscaren and as well as movement work with MOCA in larger performance pieces including 'Cyclic' (https://vimeo.com/327417942/4c8bd55dd7), and have been a contributor and performer with numerous shows that included acrobatics (Exist: Messenger from the Stars - https://mail.google.com/mail/u/0/?tab=wm&ogbl#search/stephanie.cortes%40...) paid through a city grant in Scottsdale (and Berger Theater in Tucson); live stunt work at Keetlocko studios ('The Stranger', a low-down cowpoke who is a notorious killer and attempts to escape town with a known bandito), and contemporary social advocacy with Taproot production under Eugenia Woods ('Hark'; 2018). My work led to an invitation as a cohort in Arizona Theater Company's community cohort program for last season and this season in which I witness up-close rehearsal sessions for 'The Royale', 'Silent Skies', and 'The Caberet'.
I am a member of Old Pueblo Playwrights and a current student in the Phil Bennett Acting Conservatory studying the Stanislavkian system.
I am currently represented by Dani's Agency: https://www.danisagency.com/search.php?id=JAY%20CHOMPSON
I have an IMDB page referring to work completed in 2019; it needs to be updated with recent productions completed: https://www.imdb.com/name/nm10629440/?ref_=nv_sr_srsg_1
Plays
Welcome, welcome, welcome, ladies and gentlemen. Thank you for joining us in tonight’s festivities. We are proud to once again present to you “The GRANDest Pageant: The Best Goddamned Show on Earth” because at the heart of it, this show is all about us!
Tonight, please join us for an evening that harkens back to the wonderful days of community and the truly important things that have always brought us together.
Come for the celebration with our one-of-a-kind, once-in-a-lifetime performances and pick your favorite!
Witness all the spectacle that titillates the known senses while challenging our deepest desires and choose which one is best!
Bid in the showcase that brings us all together as we appreciate our deeply held values.
Now, for those poor souls that may be deprived of the glory from this evening…
You put their little fears at ease. See this show isn’t going anywhere, despite what all them nay-sayers want to tell you. As long as you’re here, we’ll always be here setting up next show. Because, when it comes down to it, you’re the only one that’ll stop it. But I’m heartened to say that I don’t see that happening any time soon; we always seem to have a full house!
Remember, it’s an evening where everyone is a winner, so get ready folks: It’s time to pick the favorites, it’s time to choose the best, it’s time for The GRANDest Pageant!
HAROLD was the kind of guy that believed in James Bond kind-of escapes and last minute surprises, so even when his dreams of corona-filled beaches get soaked up with cheap vodka and bloody snot, he knows deep down he’ll never run away from the bullet at the other side of the table named NICK.
The start of Harold’s story begins with a sucker punch that couldn’t be helped, a very nice jacket that apparently cost $3,000 and a satchel under the bed filled with at least 100k. That’s right, and a MAN that has the kind of laugh you love to hate. And a gun. The kind that spies have.
After coming back to the land of the living, HAROLD finds himself in a strange, existential conversation with the MAN, a likeable asshole who might as well be the devil in a hotel room whose only real features worth remembering are a gold-rimmed mirror and a neat, little-fancy refrigerator filled with best kind of shooters to wrap your lips around.
The MAN who HAROLD eventually gets to know as NICK is there to kill him. Not his decision, just his job, so there really isn’t any point in arguing that matter. What really is worth thinking about, instead of – ya know – sitting there in his piss soaked underwear, is what he would do with a few more minutes to think things over…or whatever.
Almost with amusing apathy, NICK provides HAROLD the chance to have a drink, cool down, talk movies – not that new agey garbage, but the true, real classics. And love. Goddamn it; that does get in there too. Not that anyone in the room is a softy, but when you’re going to spend your time talking movies, life, or – for god’s sake – women, they at least better be worth it.
With each 80 proof anecdote that HAROLD or NICK seem to enjoy, there is a sneaking suspicion that one last subject has yet to come up, even though it was the first one that started the whole talk to begin with. It spent time hiding between funny memories of young lust, and it deftly avoided confrontation when small world coincidences popped up, but it never left. Like the gun. The ones that spies have. But what HAROLD didn’t expect, and NICK always knew was coming, was that one last phone call.
Then NICK kills HAROLD.
The sound of an airplane taking off is always the same no matter where you’re going.
In an airport bar in somewhere USA a man and woman meet to run away together. All that’s standing between them and a happy ending are a couple drinks, a couple hours, and a couple complications. Even the best laid plans come with a little turbulence.
In a busy airport, a dim little bar sits tucked away in the corner, as passengers walk pass, completely oblivious of each other. That is, except for a MAN and a GIRL who play between flirting and obliviousness as he passes the time before he leaves for his flight.
The MAN is like every man. Or maybe just enough like them to seem familiar, even as a stranger. His cool, collected demeanor only entices the audience of the of the young barkeep who keeps time by straightening up as she holds her breathe for her shift to end. Only he knows why he is there, where he is going, and why he wants to get there. Maybe. In here, no matter how charming the MAN can be, it’s a place of Limbo where even bartender nametags don’t tell a GIRL’s name. At least the cocktails are watered down enough to remember they cost an arm and a leg.
He tries to play mysterious with women younger than him only to reveal that it’s not a, but the WOMAN he is waiting for. And she is a woman to be sure. Words like beautiful try to keep up with her. The WOMAN is the kind of fever dream a sin has and spends the rest of its natural life trying to remember.
And with all of that beauty running up behind her and all that natural life those sins are spinning nostalgia; when she walks in that tiny, out-of-the-way bar, it’s as if there was nothing that could be known before or after her. Nothing outside of what she already knows anyway.
The WOMAN and MAN don’t converse, they engage. They strategize each next phrase and touch between themselves as details emerge of who they are leaving, where they are going, and how much it truly cost them to make it to that cocktail between them now. Face-lifts can’t really erase frowns, but some green eyes won’t ever let you go.
And what the WOMAN knows, what the MAN thinks he knows, and even what the GIRL will never know, is that in that little room, for a little time before a plane takes off, someone will realize the meaning of true love. For one of them, it’ll cost $5,000 and a slight change of plans.