John Marshall Jones Earns Audelco Award, Validating New Direction in his Acting Career

By Jeanette Valentine

Atypical actor toils away in local theater with one goal in mind – making it to the big time of Hollywood, with its attendant glitz and million-dollar paychecks. But John Marshall Jones is atypical. Though consistently landing roles on the big and small screens, he’s opted to practice his craft in what he considers the far more rewarding realm of local theater. And his work is garnering recognition.

Audelco recently honored Jones as Best Lead Actor in a Dramatic Performance for his role in “The Guest at Central Park West.” Regarded as the Black  'Tony' Awards, the Audelco’s are the only formal, established honors dedicated to New York's black theatre community. 

In addition to Jones’s win for Best Lead Actor, “The Guest at Central Park West” shared Best Dramatic Production of the Year honors with “Black Man Rising” and earned Levy Lee Simon a Best Playwright award. Directed by Bruce Jenkins, the play is an explosive socio-political drama that explores issues of class inequality and violence. Jones plays the role of Terrance, a homeless man, who shows up as an unexpected guest to disrupt a high-society dinner party.

“It is a phenomenal role and, clearly, the best work I've ever done,” Jones said. “It's confirmation of all the hard work in the collaboration between myself, Bruce Jenkins and Levy Lee Simon. I really wanted to get out of the sitcom ‘pigeonhole’ that Hollywood has been boxing me into. This is a big step in the right direction.”

Most people remember Jones as the affable single father, Floyd Henderson, on the WB sitcom “The Smart Guy,” which ran from 1997 to 1999. His small-screen works read like an issue of “TV Guide,” including appearances in “Malcolm in the Middle," "Nip/Tuck," "ER,” “Navy N.C.I.S.,” "Joan of Arcadia," "Soul Food," "Home Improvement," "Roseanne," and "Melrose Place," among many others.

But Jones bid an unapologetic goodbye to the television scene in 2005, choosing to accept “The Guest at Central Park West” role rather than making the rounds of more sitcom auditions. Unlike television or film, live theater affords artists the opportunity to express themselves without the limitations imposed by chasing corporate profits, according to Jones. He calls theater “the last bastion of non-corporatized theatrical expression".

“I can't allow Hollywood to define me as an artist. Their definition is based on how many units they think an actor's image can help them sell, whether those units are advertising time or movie tickets,” he said.

“If I were to accept that, then I'd also have to accept that my value is defined by people who have no interest in my well being as an artist or as a person. How stupid would that be, spending your whole career running around asking other people for permission for you to be yourself?”

Jones’ impact in the theater world extends beyond performing. Through a film venture called American Stage, he is helping expand the audience for live performance beyond the capacity of any one physical building. “We go around the country to find the best in award-nominated and award-winning multicultural theater, and we shoot in the same aspects as television,” he explained. “When we cut it together, it looks like a television show, but it’s the best of theater.” An example is this AmericanStage clip from the play, “The Bow Wow Club,” a hilarious and provacative drama starring Jones and written by Levy Lee Simon.

Note that Jones and American Stage are seeking out the best in multicultural theater. “I’m most interested in entertainment that reflects the specific needs of people of all different cultures,” he said. “[African Americans] already are a cross-cultural people. The American public is already a cross-cultural melting pot. It really is the entertainment industry that’s pulling up the rear in terms of recognizing that we need each other to co-exist and to flourish.”

Jones also heads up a company he launched to help actors navigate the most crucial part of their journey to theatrical success. “Mastering the Audition” marries Jones’ proven techniques for nailing casting calls with the magic of technology. He calls his product “an iPod-based solution for your audition problems.”

“Most people who want to be actors don’t have enough information to get into it successfully and may not have the time or the money to invest to get that information so they can do it successfully.” With audio lessons that can be downloaded into an mp3 format, “Mastering the Audition” provides audition techniques that are easily accessible for aspiring actors on the go. (For more information, go to masteringtheaudition.com.)

Jones has the kind of solid background and experience that gives “Mastering the Audition” instant credibility. His theater degree is from Northwestern University, and he completed a two-year apprentice with Chicago’s prestigious “Second City" ensemble. In addition to his television credits, he’s shared silver screen time with Robin Williams in “Good Morning, Vietnam,” Wesley Snipes in “White Men Can’t Jump” and Nicholas Cage in “Con Air,” among others.