Deborah Hazlett | Everyman Theatre

Deborah Hazlett draws on a rich career of character work and is an anchor in the productions at Everyman. She is also certified as a teacher of the Alexander Technique and often teaches Adult Classes here at Everyman. Learn more about Deborah’s experience below and what it means to be part of Everyman’s Resident Company.

BIOGRAPHY:

[EVERYMAN THEATRE]: (Resident Company Member): Over 40 productions, including POTUS, A Midsummer Night’s Dream, The Lion in Winter, Agatha Christie’s Murder on the Orient Express, Everything is Wonderful, Sweat, Long Day’s Journey Into Night, Noises Off, The Roommate, Death of a Salesman, Private Lives, Ghosts, Frankie and Johnny in the Clair De Lune. [REGIONAL]: Arena Stage: A Time to Kill; Playmaker’s Repertory Theatre: Frozen; Syracuse Stage: BUG; Signature Theatre: CRAVE, Blue Room; Woolly Mammoth: Appropriate, BUG; Folger Theatre: Hamlet, A Midsummer Night’s Dream; The Shakespeare Theatre Company: eight productions including Henry IV Parts I and II, The Taming of the Shrew, Macbeth, and Twelfth Night; Theater J: Something You Did; Round House: NSFW, Crown of Shadows; Olney Theatre Center: Rabbit Hole, Over the Tavern, Death of a Salesman. [TV/FILM]: Law and Order, Homicide, Young Americans. [EDUCATION]: MFA Acting, University of South Carolina. Certicifated teacher of the Alexander Technique, AT Midatlantic, AmSAT.

Resident Company Member Since
SEPTEMBER 1, 1998

Pronouns: She/Her

Get to Know Me

What does being part of Everyman’s Resident Company mean to you?

I have an artistic home with artists who are brave, talented and committed to telling stories in a truthful way – this requires courage, humor, trust, skill, determination and heart.

How has your time as a Resident Company Member influenced your artistic journey or career?

I’ve chosen to come back to Everyman for 27 years because of the commitment to artists, community, and rigorous investigation of truth in story telling. Artists and the process of discovery are honored here – truth in story telling. That’s worth coming back to over and over again.

What connections do you have with Baltimore?

My connection to Baltimore began in 1998 with my first production at Everyman, Cat on a Hot Tin Roof. I’ve been committed to this artistic home and my Everyman community since then.

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