I am a performer and theater maker. I've appeared in over sixty plays, musicals, dance pieces, and cabarets with a variety of companies—including Art Street Theatre, of which I was a founding member, Aurora Theatre Company, Banana Bag & Bodice (New York), Campo Santo, Center Repertory, Crowded Fire, Deutsches Theater Berlin (Germany), Encore Theatre Company, Erika Shuch Performance Project, EXIT Theatre, Magic Theater, Marin Theatre Company, Potrzebie Dance Project, San Francisco Playhouse, Shotgun Players (company member since 2010), Willows Theater, and Word For Word. I've composed and arranged songs and choral music for projects with Shotgun Players, Hope Mohr Dance, and others.
Some awards and honors include:
2016 Bridging the Gap grant from The Shotgun Players
2016 "Originate + Generate" commission from Aurora Theatre Company
2015 Studio 210 Summer Residency with Deborah Slater Dance Theater
2015 Enrichment Grant from the San Francisco Community Music Center. Also in 2007.
2010 grant from the Belle Foundation for Cultural Development
2009 San Francisco Bay Guardian Goldie Award.
2007 Theatre Bay Area CA$H Grant in support of my work on the Berlin premiere of Yes Yes to Moscow
2005 Helen Hayes Award nomination for “Best Choreography” The Death of Meyerhold, The Studio Theater (Washington D.C.)
2003 Theatre Bay Area CA$H Grant in support of my work on Cabaret Rebel, an original theater-cabaret act
In 2002 I was named by San Francisco Magazine one of the top 100 Bay Area artists
I direct and devise...
Take a look at this teaser trailer for OLGA – A FAREWELL CONCERT at Aurora Theatre Company, which premiered in December 2017 and returns again this December 15-23, 2018. INFO & TICKETS HERE!
I've done other stuff too. (Scroll back up to download my resume.) But that gives you an idea...
Here's a bit of what the press has said...
“Beth Wilmurt's whole approach to acting is a little unexpected, not unlike the devastatingly unassuming characters she can manifest… Wilmurt has an intellectual curiosity and a capacity to forgo ego in the name of collaboration and its subtler satisfactions. It's this very trait that lends her acting a seamlessness and flexibility — and makes her an artist to watch.”
– San Francisco Bay Guardian
“Beth Wilmurt is one of those rare actresses who completely fades into the texture of each role. Her acting style is so transparent that you may have seen her on stage a dozen times without knowing it was the same actress. From American $uicide and The Death of Meyerhold to Io Princess of Argos, Wilmurt has become a mainstay of the Bay Area's edgy new-play scene. She brings a luminous presence combined with mind-blowing physical dexterity and a facility for verbal gymnastics.”
– San Jose Mercury News
"I cried. A LOT. I glanced glumly at my wife and then at my six rub-off lottery tickets (I keep them in my theatre tickets fanny pack) and it just HIT me what a friggin' fraud I am." – San Francisco Chronicle editor Stid Merkel regarding Nora.
“Edward Gant marks the impressive directorial debut of Shotgun company member and well-known Bay Area actor Beth Wilmurt… The director title may be new, but for those familiar with Wilmurt's admirable comedic and musical abilities — the way she melds influences from vaudeville to Viewpoints into an understated, balletic form of physical humor and wry between-the-lines commentary — her stamp is all over the strong ensemble playing and choice details of this pearl of a production.” – San Francisco Bay Guardian.
“Exquisitely rendered by the always insightful Beth Wilmurt, Alma [in Eccentricities of a Nightingale] emerges as a high-strung little bird desperate to fly out of her gilded cage… Wilmurt makes us revel at Alma's free spirit even as we cringe at her foolish heart. The actress captures both Alma's pleasure and her pain, an intense mixture.” – San Jose Mercury News
“Wilmurt is graceful, precise, and utterly compelling. She is, in short, magnificent.” – Oakland Tribune
"Wilmurt is a stealthy songstress, never calling attention to her voice or her showmanship, but rather slowly inhabiting each melody as if she were simply talking to us about her life... That’s how much unassuming emotional candor she brings to each lyric." – The Mercury News