acting and writing


  • Hart's first opera "The Barren(s)" at the Kennedy Center

    October 04, 2021

    w/composer Amber Vistein, our mini-exploration of the legend of the New Jersey devil was commissioned by the kennedy center's american opera initiative and filmed on the stage of the washington national opera in the spring of 2021.

  • 'IRON JOHN: an american ghost story' produced twice in 2020

    January 09, 2020

    'IRON JOHN: an american ghost story' (words by rebecca hart, music by jacinth greywoode) received two virtual productions in 2020, at Temple University (dir. Christopher Windom) and the Manhattan School of Music (dir. Chloe Treat). In 2019, this timely and haunting 'southern gothic' adaptation of the german folktale IRON HANS received a National Alliance Musical Theatre Festival Showcase at New World Stages, workshops at NYU/Tisch Drama and Theatreworks Silicon Valley, an Incubator Residency at the O'Neill Center, and was also a Richard Rodgers Award finalist. Jacinth and Rebecca met at NYU's Graduate Musical Theatre Writing Program (MFA 2018) and are currently signed to A3 Artists Literary Agency.

  • RH on Cast Recording of The Civilians' "Paris Commune"

    October 29, 2019

    What an honor to step into this show for a brief moment and for posterity, singing the songs of Michael Friedman and yelling the text of Steve Cosson alongside the original cast members.

  • RH blogs the National Tour of SWEAT Fall '18 w the Public Theater Mobile Unit

    January 06, 2019

    Honored to be a part of such a groundbreaking and singular experience. Played "Jessie" in the first -ever National Mobile Unit tour of this Pulitzer-winning drama by Lynn Nottage with some of the original Broadway/Public cast and the original director (Kate Whoriskey). There might be a documentary video some day but for now you can read the blog here:


  • "The whole cast is fantastic but I do wanna give particular shout outs to Edward O’Blenis (Dr. Astrov) and Rebecca Hart (Helena) who breathe new life into their respective characters."

    Andy Horwitz, Culturebot
  • "When Helena recognizes the love she feels for Astrov, Hart is heartbreaking."

    Andy Probst, Backstage (review, Target Margin's 'Uncle Vanya', dir. David Herskovits)
  • "As the lecture begins, Lila (Rebecca Hart) enters, and begins to speak. And speak. And speak. Hart has such a rich and expressive voice that you could listen to her for hours. Which is good, because she is about to embark on one of the longest monologues in the history of theatre.
    {...}It would be easy to tune out during such a long autobiography, but Hart uses playwright Mallery Avidon’s intriguing story to capture our attention, and keep it—not an easy task in a room still lit by houselights, giving audience members the opportunity to continuously scan the faces of their peers."

    Michelle Rynbrandt, (review 'O Guru Guru Guru' Humana 2013, Actors Theatre of Louisville, dir. Lila Neugebauer)
  • "Rebecca Hart as Lila is deceptively vulnerable while appearing at first confidently together. She does such a graceful salute to the sun for Julia Roberts, in one particular moment, that I’m still thinking about it two days later. "

    Arts Louisville (on 'O Guru Guru Guru' @Humana Festival 2013, Actors Theatre Louisville, dir. Lila Neugebauer)
  • "And it must be noted that there are two remarkable performances from Rebecca Hart (as Karlie’s mother Cindy) and Todd Lawson (as Cindy’s minister, Pastor Jay) who join in the effort to seize permanent custody of Luna Gale so that she can be saved before the imminent end days arrive. In a play populated by flawed characters, these two are no exceptions — but there’s nary a hint of caricature in either performance, and Hart seems to me to find the essence of Cindy’s character in every movement and facial expression."

    Marty Rosen, Leo Weekly Louisville (review, "Luna Gale" at Actors Theatre of Louisville
  • "...there are flickers of {Patti} Smithian rapture in the poems performed by Jo Lampert and Rebecca Hart."

    Ben Brantley, NY Times (review The Civilians' "Rimbaud in NY" @ BAM)
  • " Hart’s portrayal of Cindy takes an understated tack to give great depth to this woman wrestling with pain the best way she knows how."

    Elizabeth Kramer, Courier-Journal (review of Luna Gale @ Actors Theatre of Louisville, dir. Les Waters)
  • "While it seems unfair to single anyone out in a Chorus this good, Hart sings as though she had the god DNA herself."

    Tim Treanor, (review, Anne Washburn's "Orestes" at the Folger)
  • "“Midsummer” has a fast and funny script, as well as strong work by designers. But most important are the appealing Rebecca Hart and M. Scott McLean, whose chemistry radiates good vibes throughout the theater. {...} Yet however sharp the humor — and it’s pretty sharp — it’s simply an entertaining diversion unless the love story has a pulse. Here, it does. {...} Ms. Hart is Helena, an anxious woman discombobulated by bad relationships and a judgmental family. {...} Ms. Hart and Mr. McLean — who narrate the show as Helena and Bob while also playing incidental characters — seem to share animating secrets as they play acoustic guitar and sing to each other, the observing audience simply basking in the warmth. They’re into each other, loose and unguarded; they’re also good singers with interesting timbres who can harmonize their way through a pop tune with ease.{...}Ms. Hart is more subtle, a full participant in the extroversion of “Midsummer” while suggesting intelligence and a mysterious inner ache. {...}Yes, change is possible, Helena and Bob, but don’t change too much; we love you just the way you are."

    David DeWitt, The New York Times ("Midsummer, an Urban Fairy Tale, Comes to Hartford")
  • "As Olympe des Gouges, Rebecca Hart is smart, sharp, and quick witted. She portrays Olympe as driven but conflicted, someone with passion, but who is still figuring out what that passion is for, exactly. Much of the humor comes through her interactions and her comic delivery is spot on. She is a thrill to watch embody the playwright and is the thread that binds the play together."

    Joseph Harrison, BroadwayWorld