Travis Michael Holder

Travis Michael Holder (Arts In LA, Backstage, Entertainment Today) has been a Los Angeles theatre critic since 1987 and has taught acting and script analysis at the New York Film Academy’s west coast campus since 2010. He was Theatre Editor for Entertainment Today for 21 years, wrote weekly reviews for Backstage for 12 years, and currently writes theatre criticism for
As a writer, five of his plays have been produced in LA and his first, “Surprise Surprise,” became a feature film in 2010, for which Travis wrote the screenplay and appeared in a leading role. An actor since childhood who originally came to LA under contract to Paramount Pictures, he has appeared in six Broadway productions and has traveled extensively in everything from “Bye Bye Birdie,” “Hair,” and throughout Europe and Asia in “Hello, Dolly!” to touring as Amos (Mr. Cellophane) Hart in “Chicago.”
Locally, Travis received the LA Drama Critics’ Circle Award as Kenneth Halliwell in the west coast premiere of “Nasty Little Secrets” at Theatre/Theater and this season received another LADCC Award as part of the multi-award winning ensemble cast of “Stupid Fucking Bird” at the Boston Court Performing Arts Center. He has also been honored with a Drama-Logue Award as Lennie in “Of Mice and Men” at the Egyptian Arena; a Award; four Maddy Awards; six acting nominations from LA Weekly; two Ovation, GLAAD, NAACP, and five Garland Award nominations; and in 2014 was proud to accept a Sage Ensemble Award along with his fellow castmates for “The Katrina Comedy Fest,” which debuted in 2013 at the Lounge as part of the Hollywood Fringe Festival.
Regionally, he was given the Inland Theatre League Award as Ken Talley in “Fifth of July,” three awards for direction and performance as Dr. Dysart in “Equus,” and he was up for Washington, DC’s Helen Hayes honors as Oscar Wilde in the premiere of “Oscar & Speranza.”
His first novel “Waiting for Walk,” a memoir of growing up as a kid actor in New York, has been sitting in a desk drawer since its completion in 2005, proving there is often a deep divide between talent and functionality.