ACTING

those times when I did things on the stage

 

VOYEUR: THE WINDOWS OF TOULOUSE LAUTREC

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Tour Guide

Directed and Conceived by Mara Lieberman 

Bated Breath Theatre Co.

"...seductive...we are forced to transcend our gaze and realize the humanity of the subjects of our vision." - Maya Phillips of the New York Times

Voyeur invites you to peer through the windows of old Paris, where unexpected moments of art, beauty, and seduction await you during this pandemic-friendly theatrical walking tour. As the Tour Guide, it is my job to lead and entertain the audience throughout the performance. I juggle many things; being a sound-op with my magical music box, participating in the production as a main character, and making sure no one gets hit by a runaway biker. It's a ball clownin' around at Voyeur and I'm so thankful to be able to bring live theatre back to NYC, 

THE MERRY WIVES OF WINDSOR

The Merry Wives of Windsor

Mistress Quickly

Directed by David Andrew Laws

Hamlet Isn't Dead

"Sophia Carlin gives a lively Quickly, taking on the excised Bardolf, Pistol and Nym's roles with élan." - Emily C. A. Snyder

The role of Mistress Quickly was one of many hats. She sang, she partied, she gallivanted, she stirred the pot, and she emceed an entire evening of holiday mischief. A combination of the original Quickly's lines and a multitude of cut players in this adaptation, I worked to create a new Quickly completely. She's quirky and authentic like the old, but with a Sophia Carlin twist, making sure that everyone is having as much fun as she is.

KING LEAR

Oswald

Directed by Louis Fantasia

Edge Theater

With only six hours of rehearsal to stage a reading and cue up the orchestra, this was a whirlwind experience for me. Under the direction of the incredible Louis Fantasia, I got the opportunity to play the opportunistic clown, Oswald. I was challenged in many ways by this role. Not even considering the time crunch, I was restricted behind a music stand when delivering my lines. Essentially, I was tasked to make a physically comedic role not physical. Oh, and also I had a death scene. By embracing my constraints, I think I gave a pretty solid performance. And we also raised $7,000 dollars for Chicago Youth Shakespeare, so what more could a girl ask for?

ANIMAL FARM

Finale of Animal Farm Workshop

Nostos Ensemble

Directed by Veselka Kuncheva

Stara Zagora Puppet Theater

When my ensemble, Nostos, traveled to Stara Zagora in June 2018, we were given the amazing opportunity to devise a piece based on the themes of George Orwell's Animal Farm. We worked with three stellar artists, director Veselka Kuncheva, designer Marieta Golomehova, and composer Hristo Namliev. The production came to NYC in September 2018. Click here to see our promotional video!

MACHINAL

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Mother/Judge

Directed by Dara Malina

Schaeberle Studio

This role required extreme discipline. Under the incredible direction of Dara, the piece took inspiration from viewpoints, Suzuki, and Dada absurdism. The result was a masterfully mechanical torture chamber for Young Woman. My task was to berate, challenge, and overwhelm Young Woman. All in one scene, you see Mother live an entire life, from belligerence to fury to pain and then back to belligerence. Through repetitive gestures and all of the intensity I could muster, I delivered one of my favorite performances to date.

SAFER THAN HOME

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Nostos Ensemble

Directed by Ianthe Demos

Theatre Row

Safer Than Home was devised work with my International Performing Ensemble (IPE), Nostos. The show tried to answer the question, when is it safer to leave home? I served as the puppet master for the show, meaning I made all of the shadow puppets and choreographed every piece featuring puppets. We work-shopped the piece in May 2017 at Theatre Row in NYC and then took it to Stara Zagora, Bulgaria in June 2018. Click here to watch the live stream from Bulgaria!

CAVEMAN IN THE BASEMENT

Kim/Winsome

Directed by Asha Printup

NOW Festival

Devised with my ensemble, The Kinzey Scale, we adapted the short story, Caveman in the Hedges by Stacey Richter, into a twenty minute show. The piece was shown in-rep with seven other brilliant shows in February of 2020. The amount of effort and care taken to produce this work is immeasurable. I utilized my artistic and collaborative skills to the very fullest. Together, we made Kim and Jim's wacky story come to life beautifully. It is one of the most rewarding moments in my acting career to date. 

THE BACCHAE

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Chorus

Directed by Brian Fruits

Salt Box Theatre Collective

"[...] a visceral experience as lively as any contemporary musical or drama." - Columbia Chronicle

This show was a marathon. Three hours, no intermission, and I never left the stage. Also I was in half-mask and drenched in blood. Oh, and it was my first professional gig, like, ever. It was a lot, but I learned so much from this experience. The Chorus was comprised of twelve dynamic women who represented the savage and cannibalistic bacchanals. The role required me to stretch my physical abilities and helped me understand not only my limits, but how strong and capable I really am. I would say, after doing twenty-six performances of this show, I could be considered a "physical" actor. 

A MIDSUMMER NIGHT'S DREAM

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Helena/Hippolyta/Mustardseed/Starveling

Directed by Brianna Boehm 

The Untitled Shakespeare Project

Told through the lens of a children’s slumber party and using a cast of six, this fast-paced and youthful production of William Shakespeare’s hilarious play proved to be an unforgettable roller-coaster of farcical magic and mischief. The role was highly physical and exercised my clowning abilities. Probably the most fun I've had onstage in a long time. The production ran at the NuBox Theater in October 2018. Click here to watch our closing night!

MACBETH

🗡☠ 🐍 Holy moly! What went wrong here_ 🐍☠🗡__Presented by Chicago Youth Shakespeare, a group of al

Lady Macbeth


One Night Only

One Night Only is a theatre troupe started by myself and Simon Cohen in August 2017. ONO productions rehearse an abridged Shakespeare work once and perform it only once in the attempt to recreate a contemporary styling of what Lord Chamberlain's Men produced back in the day. In the inaugural production of Macbeth, I played Lady Macbeth and acted as fight choreographer/blood pack expert.