After graduating high school in the spring of 1996, Stuart enrolled at Reed College, in Portland, Oregon, as an English major. While at Reed he acted in several productions, most notably as Carl in Alexis Poledouris' thesis production of The Baltimore Waltz, by Paula Vogel, and as The Reporter in Len Jenkin’s American Notes. He also wrote, performed and directed sketch comedy for the student based "Midnight Theater", and during summer and winter breaks helped found and form the Tucson based non-profit theater troupe, Quicksilver Productions, Inc. Over the course of four years he directed and designed many shows for Quicksilver, including adaptations of The Oresteia (1998) and Faust, Part 1 (1999), and the original production of his own play, The Exiled, in the winter of 2000. He was also fairly active with the Old Pueblo Playwrights, with work twice appearing in their New Play Festival- Rumpelstiltskin in 1997, and Endymion in 1998. He collaborated on the script of the short film Insomnia (2000), with Chris McCaleb and Amanda Karam (who also starred) and featuring sound work by acclaimed designer Lisa Fowle. The film went on to win a John C. Cosgrove Award for short cinema. For the 1999 Reed College Spring Directing Festival he premiered another of his short works, the play Wild Blue Peaks, which was later a finalist for the Heideman Award at the 2002 HUMANA festival.
Stuart graduated from Reed in the spring of 2000, having turned down the chance to join Phi Beta Kappa, with a degree in English/Creative Writing. His thesis was writing the play Vincent of Gilgamesh, which gave its first three performances in the Winch/Capeheart dining hall. It was also during this time that he began his collaborations with writer/director/actress Anne Heintz, and after college Stuart returned to Tucson, Arizona, where he and Anne, along with technical manager Joshua Galyen, founded Horror Unspeakable Productions, debuting with a production of Oscar Wilde's Salome (2000), but really finding their niche with the follow up adaptation of Marlowe's Edward II (2001), both directed by Stuart. In the interim between the two shows he appeared as Horatio in Anne's avante-garde rendering of Hamlet in Tucson's Flandrau Planetarium and followed that with a stint as Yo-Yo in the Valerie Baugh directed production of Charles Busch's Psycho Beach Party (2001). Often collaborating with Quicksilver Productions, Inc., now being helmed by his sister, Robin, a multitude of shows followed in a short period of time, including new productions of The Exiled and Vincent of Gilgamesh, the later of which was nominated for 2001 Drama of the Year by the Arizona Daily Star. Other notable productions included Derek Walcott's The Odyssey (2002), directed by Stuart and produced for Quicksilver Productions, Inc., Anne's adaptation/production of Macbeth (2001), featuring Stuart in the title role, and the premier productions of two more of his plays: The Attack of the Killer Space Zombies and A Random Act of Creation, both in 2002.
In August of 2002, Stuart closed up shop in Tucson and moved to San Francisco, California, where after a couple of false starts he founded the loose acting collaborative, No Nude Men Productions, debuting with another adaptation of Edward II in March of 2003. Two more firsts followed, with Anne Heintz directing a new production of Vincent of Gilgamesh in Melbourne, Australia (marking Stuart's international writing debut) in August of 2003, and later that year with the November premiere of Speak To Me, his first original play to be performed in San Francisco. Since then he has mounted two more premieres, Troijka, Love Egos Alternative Rock (based on a short story by Missy Klepetar and directed by Jesse Baldwin) and a revival of The Exiled, all in 2004. All the while he continued to act, most notably playing the Record Keeper in Jacob Marley's Christmas Carol at the Actor's Theater of San Francisco, and the Waiter in The Future of the Female, which was included in the 2005 B.O.A. Festival.
Following a brief hiatus from the scene he returned in July of 2005 directing Nirmala Nataraj's The Book Of Genesis: Remixed and Remastered for the San Francisco Theater Festival and then produced and directed two more productions for No Nude Men: a revival of Speak To Me and Racine's Phaedra. In Spring of 2006 he directed Shakespeare for the first time, mounting an acclaimed production of Love’s Labors Lost, followed by a new production of The Book of Genesis as part of the one-act play festival Pretty. Funny. Women, and a revival/revamping of Troijka, this time directed by John Dixon. That summer he also both directed and acted in Less Miserable, a thirty minute comedic retelling of Victor Hugo’s classic novel, staged to much acclaim at the 2006 San Francisco Theater Festival. He followed it up that November with a gender bending staging of Hamlet at the Climate Theater and then opened 2007 with producing and hosting a night of nine original play readings by Bay Area Playwrights and a fully-staged collection of one acts, in which he directed one of his own, Polyxena In Orbit, and Oasis, by Alison Luterman. February 2007 saw the premiere of his first children’s play, Jason and the Argo-Nuts, at the Cathedral School For Boys in San Francisco and earlier that year, in January, he had his first New York reading, with The Exiled being done at The Knitting Factory under the direction of Nat Cassidy. In the summer of 2007 Stuart continued his work with Shakespeare, directing A Midsummer Night’s Dream for AtmosTheater in the forest around Woodside, California.
Since 2007 he has worked steadily to expand the audience for No Nude Men in San Francisco and his own work beyond the Bay Area. He directed a workshop of his own play, Mathew 33:6 in 2007, as well as a new production of Sean Kelly’s Heist A Crow and the world premiere of Nirmala Nataraj’s The Monk, based on the infamous novel by Matthew Lewis, both in 2008. At the end of that year, his short play Joe and Cleo: A Love Story was produced by the Hyperion Theater Company in New York City, and since then he has directed the premiere of David Duman’s Fishing at Perscope Cellars in Emmeryville, California and returned to Woodside to direct Aristophanes’ The Frogs for AtmosTheater. In September of 2008 he also published his first novel, Dry Country and continued to act, starring in Margery Fairchild’s The In-Betweens in 2009.
At the end of 2009 Stuart formed the San Francisco Theater Pub with Victor Carrion, Bennett Fisher and Brian Markley, with the hopes of creating a casual environment to help foster the social ties and creative enterprise of the independent theater community of the Bay Area. In 2010 He stared in their first production, Cyclopes, as Odysseus, and produced and directed their second offering: A Valentine’s Day Post-Mortem, which included a new short play: Killing Me Softly: A Valentine’s Day Pageant for Grown Ups. Another short play, Housebroken, was co-produced with Three Wise Monkeys, with Claire Rice directing, as part of the 9th Annual Bay One Acts Festival, and was published in their annual anthology. A third short, A Late Lunch, was included in Wiley West Production’s short play festival, San Francisco Stories, directed by Soumyaa Kapil. He also wrote his first short film since Insomnia, a part-comedy, part-psa online video for the non-profit organization, Hostelling International.
An adamant, life-long fan of fantasy writer Peter S. Beagle, it was with great honor that Stuart collaborated with the legendary story teller to bring his book Giant Bones to the stage in May of 2010, a joint production of No Nude Men and Conlan Media Group that played to excellent reviews and enthusiastic audiences. Continued involvement with the San Francisco Theater Pub included playing Eteocles in The Theban Chronicles, adapting and directing HP Lovecraft’s The Dunwich Horror, directing Oscar Wilde’s The Florentine Tragedy and La Sainte Courtesan, and penning Queen Mab in Drag as part of their Pint-Sized Play Festival. He spent the summer appearing as the Unicorn and the Knave of Hearts (as well as a Goat and a Frog) in Atmostheatre’s Alice In Wonderland while also creating and curating the San Francisco Olympians Festival, a reader’s theater collection of twelve new plays centered around the principal gods of ancient Greece. 2010 was rounded out with directing Ruth and the Sea, by Morgan Ludlow, for Wily West Productions.
2011 saw continued collaborations with the San Francisco Theater Pub, Wily West Productions and Atmostheatre/Theater In The Woods. For the former Stuart assembled a performance collage of famous political speeches under the collective title Personal Politics and also directed a new translation of the Aristophanes classic, The Congresswomen, but his biggest contribution to the Pub was adapting Shakespeare’s Henry IV Parts 1 and 2 and Henry V into a full length play re-titled The Boar’s Head. The show, directed by Jessica Richards, became the first fully produced full-length play to have a run at Theater Pub and the cast included Stuart in the supporting role of Ned Poins. At Wily West his play Juno En Victoria was given a full production, directed by Claire Rice, and he returned to the woods that summer to direct another Shakespeare play, Twelfth Night. The year also saw a great deal of activity on the No Nude Men front, including a four week run of another new full-length, Edenites. He also began a new collaborative relationship with Custom Made Theater Company, directing a much lauded revival of Henry David Hwang’s M. Butterfly.
Collaborations with Wily West Productions and Custom Made Theater Company continued in 2012. After mounting a reading of Euripedes' Helen for the San Francisco Theater Pub, Stuart directed another critically acclaimed production for Custom Made, this time taking on Shakespeare's ever controversial The Merchant of Venice. He followed up this successful production with another of the Bard's work, directing a truncated, traveling version of Measure For Measure at Theater Pub before returning to Wily West to participate as both a director and a writer in their Halloween-themed night of short works, The Spooky Cabaret. Another of his short plays, Brainkill, was directed by Sara Staley for the annualBay One Acts, marking Stuart's third time as a festival playwright. 2012 also included Stuart directing the world premiere of Susan Sobeloff's play Merchants for No Nude MenProductions, in addition to helming the third installment of the San Francisco Olympians Festival, where his new one act, Twins, made its debut in December.
2013 proved to be a year of transition, with Theater Pub taking a hiatus from regular performances in July, having first finished seven months of performances, including a full production of The Taming of the Shrew, directed by Stuart. Other directing projects that year included Craig Lucas’s classic Prelude To A Kiss, at Custom Made Theatre Company, and a three week workshop of Stuart’s new play, The Age of Beauty, under the No Nude Men banner. Along with friend and fellow playwright Megan Cohen, Stuart launched a monthly event at the Exit Theatre, Saturday Write Fever, where playwrights and actors meet up to create spontaneous performances together and this, along with his past accomplishments, earned him the award “Best Ringmaster of the Bay Area Theatre Scene” from the San Francisco Weekly. The end of the year saw the fourth installment of the San Francisco Olympians Festival, capped with the first public reading of See Also All, a play he had been working on for over eight years.
He currently lives and works in San Francisco.