Interview: Theatre Life with Renea S. Brown

Today’s subject Renea S. Brown is currently living her theatre life onstage at Folger Theatre playing the role of Isabella in Psalmayene 24’s reimagining of Measure for Measure. The show runs through November 1st.

Renea is no stranger to the Folger stage. Previous appearances include Macbeth: A Tribute to the Federal Theatre Project, Metamorphoses, Our Verse in Time to Come, and A Midsummer Night’s Dream.

She has also performed on some of the area’s best stages in a variety of roles. Area credits include Sally and Tom, The Mountaintop (Helen Hayes Award: Outstanding Lead Performer), Sojourners (Helen Hayes Award: Outstanding Supporting Performer), and Nollywood Dreams at Round House Theatre, Furlough’s Paradise (Helen Hayes Award: Outstanding Lead Performer), Covenant at Theatre Alliance, Tempestuous Elements, and Change Agent at Arena Stage. Macbeth, and The Tempest Shakespeare Theatre Company, and The American Five at Ford’s Theatre. 

You might have also seen her on the big and small screens in Godfather of Harlem (MGM+), Law and Order (NBC), and Beauty’s Keeper (Amazon).

For those that feel a Shakespeare play isn’t for them, I highly suggest you give Measure for Measure a chance for the following couple of reasons.

First off, any production that is helmed by Psalmayene 24 is guaranteed to leave you totally immersed and engaged. Secondly, Any play produced by Folger Theatre will always have excellent production elements and acting of the highest order.

If those reasons don’t convince you to attend, then maybe the fact that one of our fiercest and most versatile actresses is the lead protagonist will. Renea S. Brown is one of those performers that no matter which role she is playing, her performance is always knocked out of the park. Grab your tickets to Measure for Measure at Folger Theatre and see for yourself.

Renea S. Brown is truly living her theatre life to the fullest.

Had you been interested in any other facet of theatre before you became a performer?
It was performance from the get-go! It wasn’t until I moved to DC in 2017 where I got the itch to start writing plays. That’s been a longer journey, but I had folks suggest throughout my career that I should dip my toe into directing. That's something that I’ve been putting into action: I’ve directed a solo show, some staged readings, and assisted Aaron Posner on a number of shows. I hope to do more directing and writing in the future, alongside performing.
 

Where did you receive your training?
I actually started training pretty early. I auditioned for SCAPA (School of the Creative and Performing Arts) in Lexington, Kentucky, when I was eight, and I attended that school from 4th grade until I graduated high school. We had majors and minors, and I majored in Theatre and minored in Dance. Then I attended undergrad at the University of Louisville where I graduated as a Theatre Major and with two minors in African American Theatre and Chinese. Finally, I went to grad school at—get ready for the title: The Shakespeare Theatre Company Academy of Classical Acting at George Washington University. There my concentration was obviously in Classical Acting.

What was your first professional job as a performer?
My first show as a performer was A Midsummer Night’s Dream in 4th grade, and I hold that performance dear to me as my first “job” even though I wasn’t being paid for it. It was on a professional stage! But my first official job I was paid for was as an actor on tour with Kentucky Shakespeare in Louisville, KY. We went on the road with this history show, and had to build the set, and check in at the school, that whole shebang. Then I was asked to do the Macbeth tour as Witch 2, which I was very proud of. And that led me to join the following Main Stage season with Macbeth, The Taming of the Shrew, and The Tempest.

Can you please tell us a little something about the production concept for Folger Theater’s production of Measure for Measure?
Our version of Measure for Measure is set in the 1950’s Jim Crow South, more specifically Vienna, Georgia. Because Shakespeare sets the play in Vienna, Austria, we learned there is a Vienna, Georgia (pronounced VIE-enna), and went with that. We make it clear we are in a segregated world with the set design (Deborah Booth) inspired by the courtroom in which Emmett Till’s murder trial took place, along with separate ‘white’ and ‘colored’ water fountains, and another sign that reads ‘colored waiting room.’

How do you best describe your character in the show?
I would describe Isabella as a great debater. She loves a good debate, especially about God, sins, faults, and mercy. She’s also very open to having her mind changed by other thoughts. Not only is she moved by her love of God, but also the goodwill in others, like the Friar, who the audience knows is the Duke in disguise, also the grace of Mariana, and of course the strong love for her Brother, Claudio. I also think that Isabella is a bit naive, in that she tends to trust first impressions of people, like Angelo and the Friar, but is let down by deceitful and sometimes violent acts. Lastly I would say she is human. I think when we think of a nun, or in Isabella’s case, a novice nun, that there is an angelic elegance, but throughout the play, her flaws become very apparent, her anger, her sins, her—humanness, and that's my favorite element of her.

Why do think the works of William Shakespeare are still performed regularly hundreds of years after they were initially written?
Because hundreds of years later, we’re doing the same s**t. Women and people in general are still being harassed and abused by people in power, with the understanding that no one would believe them if they voiced their truths. Women are still fighting for their own bodily autonomy. Black people are still being lynched. Nolan Wells’ death is still being decided on whether he was murdered and we’re still questioning who hurt him. A large majority of society couldn’t believe Lupita Nyong'o could have been approached by Harvey Weinstein in a sexual and inappropriate manner. That's why this play is still being performed.

You have worked almost exclusively in the DMV. What is it about our theatre community that keeps you working locally rather than out of town?
Honestly, I think the best work is done here. I have worked in the major theatre markets in the US, but I can tell you firsthand, no one is doing it like DC. There is also a camaraderie I feel here with artists that allows me to feel at home, and that's important to me. I need to be social, and I can do that here amongst artists who are just lovely people to the core. Finally, I will say that I am able to grow here. I can work on different genres of shows and a full range of characters, without being pigeonholed into one ‘type.’ There’s enough trust among the creative teams I’ve found, that allows me to stretch and challenge myself as much as possible.

After Measure for Measure closes, what does the rest of 2026 and into 2027 hold in store for you workwise?
I cannot disclose shows at the moment, but you’ll find out when the time comes! I will say that I am a founder of the new black-led Imminent Theatre Company here in DC, so stay tuned for that work. We are currently fundraising to get our first season funded. If you’re interested in following that journey or even donating, you can find us here or on IG @imminenttheatrecompany.

Special thanks to Folger Theatre's Senior Communications Manager Colleen Kennedy, PhD for her assistance in coordinating this interview.