Age: 52
male
Rhys Montague Darby (born March 21, 1974) is a New Zealand actor and comedian. He served in the New Zealand army before embarking on a performing career. In 1996, he formed the comedy duo "Rhysently Granted" with Grant Lobban, quickly carving a niche for their unique brand of humor. Darby's solo stand-up routines, characterized by vibrant storytelling, mime, and sound effects, garnered him recognition and two Billy T Award nominations. Darby's international breakthrough came in 2007 with his role as Murray Hewitt in the HBO comedy series "Flight of the Conchords." Since then, he's appeared in films like "Yes Man," "What We Do in the Shadows," and "Jumanji," often injecting his signature comedic flair into supporting roles. On television, he's had recurring roles in shows like "Short Poppies," "Wrecked," and animated shows such as "Voltron: Legendary Defender." From 2022 to 2023, he starred in period romantic comedy series "Our Flag Means Death" as a fictionalized version of pirate Stede Bonnet. The show was praised for its LGBTQ+ representation, including the romantic relationship between Darby's Bonnet and fellow Kiwi Taika Waititi's Blackbeard. This was not only Darby's first role as a main protagonist, but also his first foray into dramatic acting. Beyond acting, Darby is also an author. He has written three children's books for his "Buttons McGinty" series as well as an autobiography titled "This Way to Spaceship." Additionally, he's been the host of the cryptozoology podcast "The Cryptid Factor" since 2008, alongside Dan Schreiber, Leon 'Buttons' Kirkbeck, and previously, David Farrier.
Rhys Darby
Norman McDonald
for Norman McDonald in Cash On Delivery
Suggested by Jeshisthename
Michael Cooney’s riotous farce has all the ingredients for rib-tickling hilarity and offers a colorful selection of character roles. The hero, Eric Swan, has been laid off and never found the courage to tell his wife. Instead, he has invented a whole string of fictitious claimants living as lodgers at his home, and each week he cashes their benefit checks. Unfortunately, a man from the DSS arrives on the very morning that Swan, realizing the scam is getting out of hand, has announced that one of his lodgers has died. A grief counsellor arrives, hotly pursued by a marriage-relations expert and an undertaker. As a result, Swan and his reluctant collaborator, Norman McDonald, have to invent a whole repertory company of fake identities and fictitious family relationships, and there are delirious passages when everyone on stage seems to be talking at cross-purposes. The panicky mayhem kicks in early and never lets up, and the ludicrous plot is developed with an insane logic that touches on the inspirational. And while the play’s subject matter is topical, the farce is as reassuringly familiar. Huge-chested old boots are groped in the mistaken impression that they are chaps in drag, dead bodies that aren’t really dead are subjected to terrible indignities and Michael Cooney seems touchingly convinced that he is the first writer ever to have considered the comic possibilities of the word “Uranus”.
