- Height5′ 11″ (1.80 m)
- Christopher Michael Jo Marsh is an English Actor, born in Edgware, North London. He was educated at Ashmole Academy and studied Acting at University of Hertfordshire, which focused on the Stanislavski Method and Strasberg Technique. He also studied Literature and Film. After graduating from University, he furthered his training in Lee Strasberg Method with The Actors Centre, now known as Seven Dials Playhouse, in London. Although trained, he has since expanded upon traditional techniques throughout his work, developing his own personal approach of the Method over the years.
Notable performances in plays include Billy in "Stags and Hens" (2012), and Dr. Brian Carrick in the new comedy play "The Remains of George" (2014).
He is a former member of Chickenshed Theatre Company, based in North London, appearing in a variety of the theatre company's productions, including Dario Fo's "Trumpets and Raspberries" (2017).
He notably played Nathaniel Job in Waterside (2013) (2017 - 2020). For this role, Christopher arranged to drastically alter Nathaniel's appearance from season to season to show the progression of the character's descent into dictatorial madness and power, morphing into a morally conflicted figure, of whom would be a far cry from his former humble self. He would isolate himself on occasion during filming, to focus on Nathaniel's inner conflicts and reflect on the character's impending loneliness.
His first major supporting role in a feature film was in Here Comes the Duke (2023), his first collaboration with Christopher Beech, in the role of Louie. To achieve an understanding of the reality of this character's eccentric lifestyle as a struggling Rockstar, engulfed in anxiety, paranoia, and a drug problem, he engaged with the works of Hunter S. Thompson, particularly reading "Fear and Loathing in Las Vegas" (1971) in preparation, and would also commit to writing lyrics for Louie's band during filming, smoke tobacco and paint abstract artworks between shoot days, listening to bands such as The Velvet Underground and Jefferson Airplane, among others.
Following this, his next project was the short film "Try-Ad", written and directed by Tania-Morgan Smith, in the role of Paul Burton, a father struggling to come to terms with his son's autism. This short film explores the realities of autism, and how stigmas of the disorder can be tackled.- IMDb Mini Biography By: James Palmer
- Extensive preparation for a role
- Stays in character throughout the duration of a production
- Hoop earrings
- Rich and sincere voice
- In-depth research for roles
- Was inspired to become an actor after seeing Andrew Lloyd Webber's The Phantom of the Opera in the West End, combined with a fascination for character study and a deep love for cinema.
- A frequent collaborator with Filmmaker Connor Chadwick and his production company Red Matter Productions.
- Here Comes the Duke is his first collaboration with Christopher Beech.
- An alumna of University of Hertfordshire's Drama Society.
- Frequently collaborates with Chickenshed Theatre Company.
- [on playing Nathaniel in 'Waterside'] Here is a man fallen from grace, but doing it gracefully. He has a messiah complex. His intentions are for the greater good, but ultimately his questionable pursuits for his version of a utopia inevitably led to his worst nightmare. That was a thrill for me to study.
- [on his name] I don't have the most exotic name, not for an actor anyway. Other people in the industry share it, so I included my middle names to at least give it some weight.
- [on acting] I guess I have an affection for acting more so for the time spent exploring another life, and the pleasure of filmmaking, than I do for anything else that may come with it. I've never been a fan of the promotional stuff. It comes with the territory. So that can't really be helped. I learn to enjoy it if it helps put the word out. But it's really nothing to do with me.
- [on social media] It's a blessing and a curse. For actors especially. We're only human of course, and we're social creatures naturally. It's alluring and scary. It can be brilliant for actors, for a time. I'm aware of its benefits in giving people a platform. But it shouldn't be a gateway into our lives.
- [In a 2022 interview regarding 'Method Acting'] It's a very misunderstood technique, but I don't think it needs to be mystified in any way. Although I do understand as to why people may apply some fantasy to it. It's a very alluring way of doing things. I wouldn't recommend it for everyone. It needs to work for you, and you need to feel it in your gut as to why it does.
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