At the root of “why this art form” it’s the ability to relate and the soul’s recognition of itself in another (and yes, I’m totally stealing that from Wedding Crashers) that keeps me in it. It’s become more and more apparent the longer I’m in this thing that whelp…I’m a grown-up who chose to play make believe for life. But I never thought of it that way growing up. I just saw what it did to people. I saw that when I dragged my extended family (all 40+ of them) into the basement every Thanksgiving or Christmas for whatever “seasonal variety show” I whipped up…they (generally) were happy. *Shout out to my cousin Katelyn for always being ready to ‘push play’!* I saw that when we put on our high school shows people were really happy afterwards. Like, genuinely happy. So, the seed was planted.
Then I studied it. I wept with insight along with classmates in college at Boston University, as we dove into our whole existence…trying to figure out what we had in our voices, our bodies, our thoughts, our breath…who were the artists and actors we wanted to be? College me: “What are my raw materials? Ok, so…I say ‘sorry’ a lot…I also start every sentence with ‘Ok, so…’. Ok, so…I should totally stop saying ‘sorry’ a lot. Shoot! Did I just say ‘Ok, so…’ again? Sorry. I said “sorry”, didn’t I? Wait: what does this all MEAN about me?” Oh, ‘twas a time indeed. It was a necessary time. A time of diving deeper into the why and most importantly into the how. How was I going to do this thing that makes people happy forever? There comes a point where you recognize how much WORK is in the make believe, how many hours is in trying to figure out ‘why this character would say this’ and at the end of the day: how do I make all of this honest? And you do it because it makes people happy.
My Grandfather passed away last March and he left this world with the person who his soul found the recognition of its counterpart in. A woman, who after 66 years of marriage, 10 children, 26 grandchildren and 20 great-grandchildren is here without her partner. The time after he passed away was filled with a cloud over her soul. But this summer, while visiting her, I was in the kitchen and heard a sound that made my heart actually skip a beat. I heard her belly laugh. And you know what did that? She was in the den watching Everybody Loves Raymond. My mom said those back-to-back episodes make her day. So, thank you Ray Romano or the late Doris Roberts, for sticking with the make believe because you make my Grandma happy. And at the end of the day, I just want to be someone who can make someone’s Grandma happy.
Follow Maggie Here:
Maggie has been acting ever since a double bunionectomy at the age of 13 left her hopes of joining the WNBA in the dust. Having always been an avid sitcom and Jim Carrey enthusiast, the new dream of becoming an actor seemed only fitting to her 13 year old self. Her senior year of high school Maggie won the Best Actress in Virginia Award for tackling Lily Tomlin and Jane Wagner’s one-woman show The Search for Signs of Intelligent Life in the Universe. After graduating from Boston University’s School of Theatre in 2011, Maggie spent a brief and memorable year and a half post-grad in NYC. There she further developed a play she had written in college entitled Love is a Mix Tape (an adaptation of Love is a Mix Tape by Rob Sheffield) with a workshop production at The Stonington Opera House in Maine, directed by Jamie Watkins.
In January of 2013, Maggie moved to Washington, DC and not only found a beautiful creative home, but met her husband, Doug Wilder, while tearing up the seas in Flying V’s The Pirate Laureate of Port Town. Most recently, she played Dora in Woolly Mammoth’s production of An Octoroon (to be remounted this summer!) and played Melody in Studio Theatre’s production of Bad Jews (both times!). Maggie has received a Helen Hayes Award for Supporting Actress for two of her favorite characters, Avery in Round House Theatre’s production of Rapture, Blister, Burn and Nelly in The Hub Theatre’s production of Failure: A Love Story. Maggie also had the honor of originating the role of B in Suzan Zeder’s world premiere of When She Had Wings at Imagination Stage. She’s also worked with Rorschach Theatre, Adventure Theatre, Arts of the Horizon and Young Playwrights’ Theatre. Film wise: Maggie is a part of Crash of Rhino Productions and has been in a number of their short films, including Rabbit Hole which won the 2016 DC 48 Hour Film Competition. Next up, Maggie’s playing Honey in Ford Theater’s production of Who’s Afraid of Virginia Woolf? directed by Aaron Posner, opening January 2017.
Following her dream of sitcom television, Maggie will be pursuing more TV/film work in the coming years! She recently co-starred as Alcala’s Assistant on an episode of USA Network’s COLONY (season starts in January!) and just wrapped her first full-length indie film, Life As We Know It, with Doug Wilder, James Ryan and Melissa June.
Upcoming in theatre: Ford Theater’s Who’s Afraid of Virginia Woolf? (January 2017)
Upcoming in TV: COLONY/USA Network
Upcoming in film: Life As We Know It/Courant Pictures
D.C. area theatre: Woolly Mammoth: An Octoroon; Studio: Bad Jews, 2nd Stage: Edgar and Annabel; Round House: Rapture, Blister, Burn (Helen Hayes Award, Supporting Actress); Rorschach: She Kills Monsters; The Hub: Failure: A Love Story (Helen Hayes Award, Supporting Actress), Abominable; Imagination Stage: When She Had Wings, Aquarium; National Children’s Theatre: The BFG; Adventure: The Wonderful Wizard of Oz; Arts on the Horizon: Sunny and Licorice; Source: A Frontier; Flying V: Pirate Laureate of Port Town. Training: Boston University.