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We shall find peace. We shall hear angels, we shall see the sky sparkling with diamonds.

~ Anton Chekhov

I am heartbroken. My dear acting coach, Jeanie Hackett, passed away from cancer yesterday. She was one of the purest devotees of art I’ve ever known and was vibrantly creating until the very end. Art was her fuel and, in that, she was a kindred spirit. Meeting her seemed like kismet from the beginning. As a teenager, I read every acting book I could find at the library, and one of my go-to favorites was authored by her: a compilation of interviews with her mentor at Williamstown Theatre Festival on the subject of Chekhov. Fittingly, she was rehearsing a reading of The Cherry Orchard over Zoom during her final months.

After I moved to L.A., I learned and grew so much from various teachers and studios, but the last place I landed was with Jeanie. I wanted someone to take me deeper into my craft and a friend recommended I come study with her. At our first meeting, I saw a black-and-white photo hanging on the wall of her office, which was of a group of her castmates at Williamstown that included Christopher Reeve. It took a bit to realize that I already “knew” her. For a girl growing up isolated in the cornfields of Indiana, who tried to educate herself, it felt surreal to be studying with someone I had been drawn to so long ago.

My Tuesday nights and Saturday mornings in Jeanie’s Workroom were the happiest hours for me, a respite from a grind that was increasingly unraveling, as I wrestled with whether I should leave Los Angeles. Jeanie’s coaching was rigorous, thoughtful, unbelievably intelligent, and inspiring. I often sat in my seat shaking, trying not to throw up, before I stepped on stage for a scene or monologue. I felt safe to fail, which I did over and over, until those glorious moments when the work finally kicked in. She deeply and passionately valued process, which cannot be rushed, and she encouraged us to work on scenes in chunks, for long periods of time, before putting it all together. She was unrivaled in her approach to text analysis and to the physical embodiment of that text.

While Jeanie was kind and compassionate during the work, a compliment from her had to be earned. If she thought I did a good job, I could trust that I really had. That kind of integrity is invaluable to an actor. The last scripts I worked on with her were some of the most challenging pieces I’ve ever tackled. Most of the time, I didn’t think I could do it, but the fact that I found moments of success was truly a testament to her coaching and to the craft I had honed in her class. I can judge my work as an actor as Pre-and-Post-Jeanie. My family even asked what had happened at one point, when they saw the difference, and I told them, “It’s Jeanie.”

I spent my final night in L.A. attending a Preview of her production of Long Day’s Journey Into Night at the Geffen. She workshopped the play in class with us for a long time as she prepared to direct, and I was one of her readers during auditions. I loved the deep dive into that classic work and her insights will still be with me if I ever get to play Mary.

Jeanie was one of the people from my L.A. world who affirmed me even after my move back to Massachusetts. She thought I was doing exactly what I needed to for my art; not abandoning my dream but rather creating a new and beautiful version of it for myself. She told me that I often came up in her conversations. Her studio is one of the things I have missed the most and I hadn’t given up hope that I would work with her again.

In May, I received a last message from her: Just thinking of you and wishing you were around. Me too, Jeanie. I’m wrecked that we’ve lost you and so very grateful that I knew you. Thank you for being my teacher and for helping me to become the artist I always wanted to be.


A short film I acted in, Matriarch, will have its premiere at the 2020 Woods Hole Film Festival, which will be a virtual event this year from July 25-August 1. I loved working on this film and am so happy to see it out in the world.

As Maureen Callahan lays on her death bed, her two adult daughters, Mary and Nancy, argue over who will inherit their mother’s fur coat. What could go wrong?

Matriarch is a dark comedy set in small town New England. Mary and Nancy struggle against each other, each of them trying to prove their love for their mother in their own way. A subtle comedy about stubborn women and power dynamics within families, Matriarch is a story about dealing with grief, pride, and loneliness: a coming-of-age tale for people who should have grown up a long time ago.


Sarah Moshman 9 months pregnant filming

I was very excited to interview director Sarah Moshman, who directed one of my Top 10 favorite films of 2017–the documentary Losing Sight of Shore. She has inspiring things to say about women in film, perseverance, and her desire to end sexual harassment in the workplace.


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