AFL
Anna Faye
Lieberman
scrappy queer theatre artist
(she/they)
ABOUT
ME!
"Anna Faye Lieberman is one of the greatest young talents on the Philadelphia stage"
-Barrymore Awards Voter
Fun Fact: I love Twin Peaks so much, my dog's name is Dale Cooper. Would love to work with David Lynch.
You didn't think I would say this without posting a picture of Dale, right?
Hey, y'all! My name is Anna Faye Lieberman, and I am a scrappy, orange, theatre artist bopping between NYC and Philly. Passionate about the development of new works and the subversion of classics, I'm a grounded storyteller with deep roots, who helps shape characters with my expansive, wacky imagination and love for deep investigation of the human experience. I'm queer, got a little grit in my bones, and I'm not afraid to get dirty.
Loves: new musicals, playing animals, clowning, devising, cowboys, writing, solo work, accents, community, radical joy, radical transparency, pets, physical comedy, rolling on the floor, cheese, castelvetrano olives, giving compliments, dusting off plays, gender exploration
Upcoming!
CATO (Remixed)
By: Joseph Addison
Adapted by: Eli Lynn
The Philadelphia Artists Collective
Directed by Damon Bonetti
May 1-18
The Philadelphia Artists Collective returns to site-specific work as they present the world premiere, meta-theatrical adaptation of CATO (Remixed) in the historically significant site of Carpenters’ Hall.
Barrymore Award Winning Playwright Eli Lynn (The PAC's Citrus Andronicus) adapts Joseph Addison’s original text, exploring the similarities between the tumultuous political landscape of Ancient Rome, Revolutionary-era America, and our current divided nation. Written in 1712, Addison's play was frequently referenced by the Founding Fathers. The expressions “Give me liberty or give me death” and “I regret that I have but one life to lose for my country”, are paraphrased from Cato. Addison's play offers an ahistorical, almost melodramatic portrayal of history, with Cato as the saintly exemplar of Roman patriotism and virtue. Lynn's adaptation maintains much of Addison's original text, but breaks apart the seams of the play with new text and metatheatricality. It gives space for the other characters - particularly the women and African characters - to dig into the history and rhetoric of Cato, and draws a sharp line from the centuries-old adulation of Rome through our own modern myths of America.
