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ABOUT STEPHANIE, THE ACTRESS

Stephanie is an actor in film & theatre, a comedic writer, a Managing Director, and a creative collaborator. She spends much of her time working with avant-garde theatre artists from all over the world, appearing in classical texts re-imagined for contemporary audiences, as well as original works told through a mash-up of live performance and technology. She writes and performs her own work with Heck No Techno; a musical sketch comedy group most recently known for their full length musical about the United States Healthcare system, “Explanation of Benefits”. She is the Managing Director and core company member of Source Material; a collective of artists/musicians/performers, who work together to excavate the deep truths and great stories of our communities. Stephanie has also performed and collaborated with Reid Farrington (The Return at the MET, CasablancaBox at HERE Arts *Drama Desk Nom*), Lars Jan (The White Album at BAM, On the Frontier with CNP), Gia Forakis & Company, and Theatre Movement Bazzaar (Cherry Jam). She loves to tell stories with her entire body, voice, and heart. Read more…

 
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Leisure, Labor, Lust

The Tank, NYC

While employing a perfect brogue, her eyes flaring, facial features in perpetual motion and exhibiting physical verisimilitude, Ms. Regina’s remarkable performance as Lucy runs the gamut from hilarity to pathos. Regina’s achievements are magnified by her depicting the male characters of Harry and Grace’s potential paramour with equally impressive impact. She is a whirlwind of tremendous talent.
— Darryl Reilly of Theatre Scene
 
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CasablancaBox

HereArts, NYC

Stephanie Regina pulls off a complex turn as the Girl Friday Irene and the narrator filling in the plot of both the movie and its production history.
— Michael Giltz of Huffington Post
...Stephanie Regina, who doubles as Irene, a studio messenger, describes the storm clouds of World War II... The most impressive performers here are the most naturalistic: Ms. Regina’s Irene is put upon but resourceful...
— Andy Webster of The New York Times
 
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