Associate Professor of Theater
Theater And Dance
Memorial Hall - 602
Marilyn Reizbaum Abigail Killeen
Chekhov, Ibsen, Brecht, and Beckett are undoubtedly the most influential playwrights of the twentieth century. As both scholarly and performance texts, their plays have long presented challenges to scholars and theater artists alike. Yet they rarely work together to benefit from the insights each approach can offer. Several plays by each, including “A Doll's House,” are co-presented. “The Seagull,” “The Good Person of Sezuan,” “Waiting for Godot,” and a few plays by more recent playwrights that one might call legacies of these foundational works (e.g., Caryl Churchill, Suzan-Lori Parks, Martin McDonagh) are considered. Plays are critically read and some are performed.
Engagement in the presentation of a full-length work for public performance with a faculty director or choreographer. Areas of concentration within the production may include design, including set, light, sound, or costume; rehearsal and performance of roles; service as assistant director or stage manager. In addition to fulfilling specific production responsibilities, students meet weekly to synthesize work. Students gain admission to Theater 1700 either through audition (performers) or through advance consultation (designers, stage managers, and assistant directors). Students register for Theater 1700 during the add/drop period at the beginning of each semester. Students are required to commit a minimum of six hours a week to rehearsal and production responsibilities over a period of seven to twelve weeks; specific time commitments depend upon the role the student is assuming in the production and the production schedule. Grading is Credit/D/Fail. One-half credit. May be repeated a maximum of four times for credit, earning a maximum of two credits.
Abigail Killeen is a theater artist, working as an actor, director, and producer. She is an Affiliate Artist at Portland Stage, Maine’s only LORT theater, where she performs regularly, as well as with other Portland-based companies: Fenix, Dramatic Rep, Good Theater, and The Theater Project. She is also a company member with Compagnia de’ Colombari, an international theater company based in New York. Recent projects with Colombari include two theatrical events directed by Karin Coonrod: the stage adaptation of Flannery O’Connor’s “Everything That Rises Must Converge”, and “The Merchant in Venice”, a unique collaboration/ commemoration, premiering in Venice in 2016 and opening in the US in 2017.
Abigail’s performance research includes generating theatrical projects for women that investigate grace and transformation, freeing them from traditional performance narratives. Recent projects include a performance version of Virginia Woolf’s “Mark on the Wall”, created with Adrianne Krstansky, which played as part of the International Virginia Woolf Conference in Chicago. In conjunction with Portland Stage’s Studio Series, she was awarded a grant from the Maine Arts Commission to produce and perform “The Amish Project”, a solo performance work by Jessica Dickey, and she conceived, developed, and will perform in a theatrical adaptation of Isak Dinesen’s “Babette’s Feast”.
Abigail holds a BFA in Acting from NYU’s Tisch School of the Arts and an MFA in Acting from Brandeis University’s Professional Actor Training Program. She trained with Master Teachers in the Stella Adler Technique, Suzuki, and Extended Voice with the Roy Hart Theatre in France. She has studied physical theater with the Double Edge Theater, Gordana Maric from the University of Belgrade and the award-winning Frantic Assembly in London.
Abigail is an award-winning theater teacher (Outstanding Teaching Award, Brandeis University and a Karofsky Encore Lecture Recipient at Bowdoin College) and currently serves as an Associate Professor of Theater in the Department of Theater and Dance.