Daniel Light is a New York City-based actor, graduated with honors from the Tisch School of the Arts at New York University (NYU). While attending, he performed in productions at the Meisner Studio, the Classical Studio, the Playwrights Horizons Theater School, Tisch StudentWorks, and with many other ensembles. He has been a fight captain and choreographer for Shakespeare & Company, NYU's student-run Shakespeare in the Square, as well as other companies, and was a director in NYU's 24-Hour Play Festival.

Daniel is also an Actor Combatant, having received recommended certifications from the Society of American Fight Directors (SAFD) in Unarmed, Smallsword, Broadsword, and Rapier & Dagger; as well as a Broadsword certification from the British Academy of Stage and Screen Combat (BASSC). In the future, Daniel hopes to continue his work with the SAFD to become an Advanced Actor Combatant, and eventually a Certified Teacher.

Daniel has also worked as a box office manager at Shakespeare & Company in Lenox, Massachusetts, and participated in various training programs there. He was a member of the Apprentice Company at the Williamstown Theatre Festival, and has trained abroad at NYU's Shakespeare in Performance program at the Royal Academy of Dramatic Art (RADA) in London, England.

Daniel made his theatrical debut in the fall of 2017 with Yonder Window Theatre Company in The House on Poe Street, a new play by Fengar Gael, as Astin Rutherford. Victor Jiminez of the Times Square Chronicles wrote of Daniel's performance, "Laura Johnston and Daniel Light both have undeniable stage presence and a knack for the details of their characters".

This spring, Daniel was a member of Shakespeare & Company’s 2019 Northeast Regional Tour, where he performed in The Taming of the Shrew and Hamlet. The tour focuses on bringing the language and vivacity of Shakespeare's work to a younger audience; the cast also acted as education artists, leading workshops on Shakespearean text with students of all kinds. The tour was recently featured in the May 26th edition of The New York Times.