ACTING PORTFOLIO
Nature in The Woman in the Moon
Ensemble-Directed, Constellation Shakespeare Collective
Photos by Miscellaneous Media
“Raube-Wilson’s powerful presence on the stage meant that she was able to talk over all seven gods at once and bring them into orbit with one another.” (Peter Kirwan, The Bardathon)
Queen of France in All's Well That End Well
dir. Allie Babich, Constellation Shakespeare Collective
Photos by Miscellaneous Media
"As the Queen, Raube-Wilson was very much a queen... The Queen was clear, unfussy, ready to listen but also quick to make decisions. And crucially, she had no truck with masculinist bullshit." (Peter Kirwan, The Bardathon)
Lady Macbeth in Macbeth
dir. Brooke Crittenden & Megan Parlett, Constellation Shakespeare Collective
Photos by Ariel Tatum
"Macbeth’s relative inaction was countered in a standout performance by Joan Raube-Wilson as Lady Macbeth... Raube-Wilson did more than many Lady Macbeths I’ve seen to find a cohesive connection between the physical relationship of husband and wife in the early scenes, and her isolation in her final appearance."(Peter Kirwan, The Bardathon)
Clarinda, Lamure, Nicusa, and others in The Sea Voyage
dir. Em Bassett, Constellation Shakespeare Collective
Photos by Ariel Tatum
"Raube-Wilson turned what could have been a Miranda parody into a deeply ethically motivated woman...The transformation in Clarinda was the production’s most profound character point, turning a romp into – from at least one character’s perspective – something approaching a coming-of-age tragedy." (Peter Kirwan, The Bardathon).
Hippolita, Philotis, and The Cardinal in 'Tis Pity She's A Whore
dir. Kailey Potter, Mortal Fools Collective
Photos by Solas Photography
"Raube-Wilson switched to a central position as Hippolyta attempted to take control over the events of the play, bursting into Annabella and Soranzo’s wedding wearing shades and singing a full-blown chorus of Alanis Morissette’s “You Oughta Know”, to a rapturous ovation from the audience...
[As Philotis] Raube-Wilson’s moving response to the death of Bergetto lent pathos to the casting-aside of her character." (Peter Kirwan, The Bardathon)
Bianca, Biondello, Baptista, and others in The Taming of the Shrew
dir. Kelsey Harrison, Mortal Fools Collective
Photos by Ariel Tatum
“The breakout star of the show, though, was Biondello. Played by Raube-Wilson with thick glasses and breathless wonder, Biondello was the production’s beating heart, almost a conscientious objector to the whole project of extreme doubling and disguises.” (Peter Kirwan, The Bardathon)
Olga deVelaris in Anima
dir. Becca Westbrook, MBU Shakespeare & Performance
Photos by Ariel Tatum
"The beating heart of Anima is clearly Olga, and Raube-Wilson's portrayal allowed it to fuel every moment. Her Olga was a raw nerve, assured and put-together, but with her own vulnerabilities that could allow the whole house of cards to come tumbling down with enough pressure." (Dais Johnston, Medium)
Jaques & Oliver in As You Like It
dir. Megan Parlett & Becca Westbrook, MBU Shakespeare
Photos by John Simmins
"[Raube-Wilson's] Jaques was a deliberately needling presence, a goth lesbian who encouraged Amiens to play “Love Shack” to the bar’s delight, before cutting it off and regaling them with a brilliantly committed acapella rendition of Alanis Morissette’s “All I Really Want”...But Jaques' acid tone was rooted in a pain that came through clearly during her "All the world's a stage" speech, during which she welled up with tears as she moved onto old age and death..." (Peter Kirwan, The Bardathon)
Some more of Joan's favorite onstage moments...
