about
me
I was raised in New Orleans where I grew up training as an Olympic-track gymnast. As I reached teenhood, I shifted my focus to competitive-league soccer before heading out to Seattle for college where I found acting. After I graduated, I moved to NYC to train further and earned my MFA from The New School for Drama. There, I studied under some phenomenal teachers: Kathleen Chalfant, Peter Jay Fernandez, Cotter Smith, David Chambers, Joe Grifasi, Erica Fae and many more. After graduating, I continued to study under Dianne Wiest, Erica Jensen, Maria Dizzia, and with the Bob Krakower technique.
​
After a decade in New York, I made the move out west and I now happily live in Portland, OR where I continue to work bi-coastally in film, tv, and theatre. Since the move, I've had the pleasure of working with Chris Conner, Ted Rooney, & Joseph Bertot.
As a gender non-conforming actor, I'm consistently cast in roles written about folks who are exploring the spectrum of gender. Much of my recent work reflects that, and the characters I'm called in for are people who are fighting to be seen, heard, and taken seriously in situations where those things seem impossible.
Analysis Through Action
weekend workshop at 21ten
Back by popular demand! I'm teaming up with 21ten to offer another weekend workshop intensive to introduce and explore the late-Stanislavski method, Analysis Through Action.
​
Each actor will be assigned a scene to work on throughout the weekend. We will utilize the étude method to deeply inhabit the given circumstances, intimately connect to impulse, and activate the actor's script analysis.
​
"We are incredibly fortunate to have Angie Tennant back at 21ten leading a two day acting intensive! I first got to know them when they were cast in our production of Uncle Vanya. Angie is not only a wonderful person and a highly skilled actor but also an invigorating teacher. I've had the privilege of watching them teach this unique approach, and it’s truly something special. This process focuses on understanding the story in our body and voice before memorizing the lines. This method flips the traditional approach on its head — instead of starting with the words, it begins with the essence of the character and the world they inhabit. To me, it’s about building a strong foundation first — the “guts” of the character, if you will. This teaching is strongly rooted in what was Stanislavsky’s later teaching approach - after his time in America. You’re incredibly lucky to have the chance to spend a couple days with Angie to immerse yourself in this approach. For many of you, especially those of you coming from the theater background, this could be a game-changer. And above all, it will be a lot of fun!" -Ted Rooney
get in touch
representation
