In 2022, Greg is continuing as a faculty artist at Community Access To The Arts in Great Barrington, teaching ukulele in Berkshire schools through the Berkshire Music School, and teaching poetry at W.E.B. DuBois Middle School in Great Barrington through Shakespeare & Company's Education programming. He is also in music production mode, recording music in the home studio creating more solo music to be released on the horizon.
This past Fall, Greg performed in The Umbrella Stage Company's production of The Old Man And The Old Moon by Pigpen Theatre Co. directed by Julia Deter. Over the summer Greg was in a production of Mary's Wedding by Stephen Massicotte at The Theater at Woodshill, directed by Kelly Galvin and was in residency with the rig at Camp Hill Ghent as a part of Our Stories Our Songs, and Greg's musical duo MoonCaps have released their second album, Man In My Eyes.This past Spring, Greg worked on poetry and Shakespeare with students in Berkshire county on Zoom via the Shakespeare & Company Education Program's school residencies.
In 2020, Greg was set to play Matt in Urbanite Theatre's production of The Feast, by Cory Finley, directed by Brendan Ragan, but the production was postponed in March when Covid hit. In quarantine, Greg performed virtually with Rise Up! Productions, recorded and released 7 new songs, released 9 and recorded 10 new songs with Deaon Griffin-Pressley for their band MoonCaps, recorded a new short called "Trump Live: Autocrat's Playbook" with friend and collaborator Martin Leggarigues, and spent much time in nature.
In 2019, Greg helped create and performed as George in You Are Not Alone, a new play by Patrick Toole about addiction and the opioid crisis, traveled to El Paso to perform as Don Lucas in Wild Thing by Vélez de Guevara translated to English by Harley Erdman, directed by Gina Kaufmann for the 2019 Nuevo Siglo Drama Festival, created sound designs for Henry V and On The Razzle at Riggs Theatre 37, served as musical director and played Feste in Twelfth Night directed by Allyn Burrows at Shakespeare & Company for which he was nominated for a Berkshire Theatre Award, played Fenton/Slender in The Merry Wives of Windsor directed by Kevin G. Coleman, and returned to direct in the Fall Festival of Shakespeare last fall at Taconic Hills High School.
The Merry wives of windsor
directed by kevin g. coleman
...(Anne) is in love with a gentleman named Fenton, played by the ubiquitous and endlessly inventive Boover.
-Barbara Waldinger, Berkshire On Stage
Gregory Boover's portrayal of the foolish and fumbling Abraham Slender was outstanding and entirely contrary to his portrayal of Master Fenton, a dashing gentleman who, like Slender, is vying for the hand of Anne Page.
-Angelica Potter, OnStage Blog
Gregory Boover embodies a most charming suitor (or suitors) to Anne Page...
-Jason Velázquez, The Greylock Glass
Directed by Allyn Burrows
The (1959) conceit allowed for some fancy dancing, along with a display of the talents of the musical director, Gregory Boover, who also portrayed Feste as a jazz musician, giving weight to his character’s foolery.
- Edward Rothstein, Wall SJ
Special recognition also goes to Gregory Boover (Feste) as the gangliest, goofiest court jester/crooner/guitarist on this or any boardwalk... As a comic actor who specializes in herky-jerky dork roles, he gets a workout in this play.
- DL Simmons, CurtainUp
The three comedians kind of steal the show — Nigel Gore finds all the laughs in Sir Andrew, Gregory Boover’s musical Feste provides the backbeat of the show, and Watertown’s own Steven Barkhimer is excellent as Toby Belch, one of the driving forces of this “Twelfth Night.”
- Alexander Stevens, Worcester T&G
As You like it
directed by allyn burrows
Ella Loudon and Gregory Boover all but steal the show as the native Ardenites Phoebe and Silvius, the wooed and wooer respectively.
-Ed Siegel, WBUR The ARTery
Gregory Boover as shepherd Silvius, who desperately pines for Phoebe, leads the ensemble on his guitar in folksy ballads about pastoral life, which contrasts nicely with inter-scene background music of café-society tunes from the Twenties.
-Dan Dwyer, The Berkshire Edge
Boover is appealingly hapless as the crooning shepherd Silvius...
-Steve Barnes, Times Union
Gregory Boover makes a touching Silvius, and his guitar-led music is one of the delights of the play.
-Alexander Stevens, Wiked Local
directed by Nicole Ricciardi
Gregory Boover gives a powerful and emotionally dynamic portrayal of a heartbroken and lost young man struggling to deal with tragedy. As Leo, he delivers an intense and heart wrenching performance with characterizations and quirks that were meticulously well placed and often subtly executed.
-Angelica Potter, Onstage Blog
As played, exquisitely, by Gregory Boover, Leo is an immensely likable, decent, gentle, almost pure and innocent soul who, at the same time, is not inexperienced with life...
The relationship that develops between Vera and Leo is a subtly crafted exercise in patience, trust, acceptance...
-Jeffrey Borak, Berkshire Eagle
Separated by a yawning gulf of age and experience, they manage to meet somewhere in the middle, and the uneasy but nonetheless loving relationship that results proves to be powerfully moving.
-Terry Teachout, The Wall Street Journal
Lean and lanky Gregory Boover’s Leo begins convincingly as an independent and confidant traveler with few obvious cares and naturally evolves into an emotionally giving young man. His delivery of the biker’s pivotal monologue — in which Leo opens up about the accident and his deep love for Micah — is heart-wrenchingly moving.
- Jules Becker, Worcester T&G
Boover's range is on display as Leo's defenses break down and he has to drop his brave front. He shares great chemistry with each of his scene partners, showing different sides of Leo with each of the three women.
-Nancy Grossman, BroadwayWorld
As performed by the perfectly cast Gregory Boover and Annette Miller, the distance between them, as well as their familial chemistry, is palpable...
The contrast (and considerable distance) between these two closely-observed lead characters — their age, points of view, habits, styles, and elemental assumptions — are a continual source of pleasure in 4000 Miles.
-Helen Epstein, ArtsFuse
As he planned what he’d do for college, Greg Boover ‘13 found himself pulled toward UMass Amherst instead of a conservatory so that he could study a range of things. Once on campus, he initially joined the student-run UMass Theatre Guild, working as an actor and on the tech crew for shows during his freshman year. Soon, however, he declared theater as his major and dove into the Department of Theater. He initially also minored in education, but Boover decided to focus more fully on Theater. He started doing all that he could within the department, and he has carried on this way in his professional life with the renowned Shakespeare & Co., contentedly dividing his efforts between on- and offstage work that also allows him to tap back into his education interest.
Through the Department of Theater, Boover was exposed to the wider scope of all of the aspects that go into creating a production. Boover serving on costume and sound crews, stage managing, and more. He valued learning from professors who were invested in having student learn the real backgrounds of Theater history, as well as getting unique opportunities to practice voicework and performance techniques with artists who boasted vast histories of training. An amazing thing about UMass Theater professors, Boover recalled, was their continuous professional engagement — directing professors who continued to direct and sound designers who designed outside of the school, for example.
Boover’s main focus was on acting, and as he developed his skills in other, broader Theater disciplines, he was taking all the performance classes that he could get his hands on and auditioning for every performance he could. He cited luck, opportunity, and ‘putting himself out there’ as factors that allowed him to perform with creators in the department who were “always doing really cutting edge work, looking for something to devise [and] something to recreate, how to tell a story in a new way.”
Boover had lived most of his life intimidated by Shakespeare. But in his time with UMass Theater, he gained confidence and grew to love The Bard, especially through in his experience acting in Twelfth Night in his sophomore year, directed by Dawn Monique Williams, as well as in a course dedicated to the language of Shakespeare with now undergraduate Program Director, Milan Dragicevich.
He also seized the opportunity to work with visiting professors from beyond the department, many of them working artists, and it was one such guest artist who directly influenced what he’s doing today. When Boover was a Junior, then-Artistic Director of Shakespeare & Co. Tony Simotes visited to direct A Midsummer Night’s Dream and teach stage combat. Galvanized by those experiences, Boover auditioned for the company’s summer program and found himself deep in the world of professional repertory theater.
Boover has worked with Shakespeare & Co. ever since. Most recently, in his very first gig as a member of the Actor’s Equity Association professional union, Boover decided that he absolutely had to play Leo, the male lead in Amy Herzog’s 4000 Miles, under Nicole Ricciardi’s direction. He described a new clarity he had reached coming out of the Shakespeare & Co.’s month-long Intensive Actors Training Program. In rehearsing for the show, he said, his new insight allowed him to reach new emotional presence and consistency in character development, both in rehearsal and on stage. Reviews of the show agreed with his assessment, with his performance being described by The Berkshire Edge as “near perfection,” while Boston Broadway World called attention to his range in his nuanced portrayal and the great chemistry shared with each of his scene partners. This first AEA experience confirmed for Boover that acting was the right choice as a post-graduate pursuit.
Although he’s identified this passion, Boover is not leaving other paths of theater unexplored. He continues as an educator, helping others find their theater passions as part of the Shakespeare & Co. Fall Festival of Shakespeare. This festival brings Shakespeare and theater to over 500 students in 10 highs schools across Massachusetts and New York engaging them over the course of nine weeks in creating and performing his works. Boover most recently worked with 50 students at Taconic Hills High School in New York on a 90 minute cut of As You Like It. The piece was performed Nov. 16-19 on the Shakespeare & Co. mainstage.
Boover wants to continue this kind of work alongside his passion of acting; he sees it as paying it forward.
- Emma Waldman, UMass Amherst Theater Dept.
directed by Jenna Ware
The bulk of the physical shtick and word play is in the very capable hands of Boover and Kearns as the leading servants. They don disguises, change their voices, do physical and verbal battle, dance, sing and drive the show.
-Macey Levin, Berkshire Onstage
Their complete embodiment of their characters is apparent from start to finish with each facial expression, every act of physical comedy and musical display. Boover and Kearns are truly talented performers with long careers ahead of them.
-Angelica Potter, Onstage Blog
The very talented Marcus Kearns' rubber-jointed Harlequin is the perfect foil to the equally gifted Gregory Boover's lovably roguish Scaramouch. The two command the stage with their verbal and physical comedy, some of it ad libbed and all hysterical fun.
-Gloria Miller, CurtainUp
Toomey is the only actor in the play but the music of Gregory Boover helps to guide us through the emotional turmoil of the story. On stage and in full sight the musician, with his own compositions, takes us through the action and the moods of the moments related by Poet. This is not a creation for this production for the script calls for such a duo on stage, always with the composer and performer being one and the same. This has helped to underscore the mighty differences in the three productions I’ve seen. Boover’s music is as essential as Homer’s tale to the telling of the history presented here. His work is wonderful, and his use of unusual performance techniques on his electrically amplified acoustic guitar, highlights the changes in the script.
- J. Peter Bergman, Berkshire Edge