INTERVIEWS WITH ENTERTAINMENT NETWORK LIVE
My brilliant friend and collaborator, Lili Fox-Lim, and I interviewed each other for Entertainment Network Live in one of my favorite interviews to date! I'm also featured solo here.
INTERVIEW WITH EXIT 42 MEDIA
I was recently featured in Exit 42 Media's blog post, "Top Three Up and Coming Actors," alongside two other badass creators. Thanks so much for the opportunity, Exit 42! Check it out here.
PIERPONT MAULER IN SAINT JOAN OF THE STOCKYARDS
"'St. Joan of the Stockyards' [...] follows ruthless tycoon Pierpont Mauler (Lillian Bornstein), a meatpacking plant owner with a pseudo-soft spot for suffering" (Hall). "Lillian has presence. She is a captivating performer. Even when placed on a huge, noisy set at a great distance from the audience, as was the case in Saint Joan, she commands the stage. I never cease to be amazed by the diverse ways in which this almost ineffable talent imbues her work. She can switch on a dime. One minute, she’s a larger-than-life, top-hatted capitalist dazzling the audience with masculine bravado in a stylized world of caricatures. The next, she pulls from this excessive character a moment of such vulnerability and truth that the audience holds its breath. This is more than versatility. It’s raw talent, shaped by a deep commitment to working hard and taking risks" (Piggott).
'Saint Joan of the Stockyards' gives power to the people - Alessandro R.L. Hall for The Stanford Daily & Jessi Piggott, Director of 'Saint Joan of the Stockyards'
KATE KELLER IN ALL MY SONS
"Arguably the most important examples of this combination of acting skill and natural fit are Caldwell and Lillian Bornstein’s portrayals of Mr. and Mrs. Keller, respectively. […] Caldwell and Bornstein do justice to Miller’s ideas about the shaky moral patchwork that holds up the illusion of a realized American Dream. Bornstein is excellent in the early scenes as a mother who enjoys a good hat and the womanly work of hosting guests […] Bornstein and Caldwell offer a sustained, slow burn.
The genius of Bornstein’s performance in particular is clear in one late scene. When Caldwell’s Mr. Keller tries to bully his opposition into believing him, Mrs. Keller snaps at him, “You have nothing to say,” with such silencing power that it becomes clear that she knows more than her husband, or anyone else, about the truth, what it takes to hold her family together, and the disconnect between the two. Mrs. Keller is not just a domesticated simpleton grieving for her lost son, as she seems. Her fragility and hospitality are weapons forged of love and deceit, used to put the end to any arguments based in rationality that might threaten her carefully constructed reality. In a way she is stronger and more cunning than the others.”
The dark American dream: A review of 'All My Sons' - Kelsey Dayton for Stanford Arts Review
JOYCE/JOAN/JEANINE IN TOP GIRLS
"Lillian Bornstein as Marlene’s sister and Angie’s mother Joyce also shines in her performance. She stands tall, yet weary; you can see it in the way her face settles into the lines of hard work, her brow furrowed, lips pursed, hands on hips and back slouched as if aching for a break. She’s angry, loud, brash, yet highly emotional and sensitive. Bornstein brings to the role a maturity far beyond her years, and she exudes the spirit (or lack thereof) of Joyce with every line she utters."
The mythical female: A review of 'Top Girls' - Loralee Sepsey for Stanford Arts Review
DON PEDRO IN MUCH ADO ABOUT NOTHING
"Lillian Bornstein was another surprising choice for the traditionally male Don Pedro, but quickly claimed a place in the audience’s hearts with her warmth. She proved herself able to turn on a dime, to become heartbroken and melancholy."
Review: 'Much Ado About Nothing' - Oxford Opening Night
A "standout for me was Lillian Bornstein’s Don Pedro, who looked utterly heartbroken after Beatrice refuses his marriage proposal."
Review: 'Much Ado About Nothing': Nina Crisp is enamoured by this sellout adaptation of Shakespeare's comedy at the Pilch - Nina Crisp for Cherwell
KAYLEEN IN GRUESOME PLAYGROUND INJURIES
"Bornstein, [...] in the first scene, adopts a shy, childlike demeanor, at times slouching her body into herself. By the end of the scene, she stands firmer, with a curious look in her eye as she reaches towards Doug’s wound, asking if she can touch it. [...] For me, watching Bornstein, in particular, touch Doug’s wounds in different scenes suggests a sense of tenderness in the confrontation of pain. [...] In another scene, Bornstein as Kayleen vacillates between pleading, crying, laughing and reminiscing as she paces around a hospital room where Doug lies, nearly brain-dead after another life-threatening accident. [...] In this painstakingly thoughtful production, Stanford Theater Lab creates a beautifully stitched narrative of hope, love and resilience."
'Gruesome Playground Injuries' is a grossly entertaining production - Alli Cruz for The Stanford Daily
BÜSCHING IN THE DOWNFALL OF EGOTIST J. FATZER
"Lillian Bornstein excels as both a worried Büsching and the swaggering, hypermasculine soldier with a soft spot that Fatzer exploits to get him to help the gang out."
'The Downfall of Egotist J. Fatzer': A hilarious, clever, and nontraditional exploration of Brecht, war, and gender - Noemi Berkowitz for The Stanford Daily
ROBIN IN RUNNING THROUGH DARKNESS
"Landon Beard, Lillian Bornstein and Eric Moyer all do splendid jobs within their given roles. [...] Lillian as Robin comes across as a broken woman with maybe a little more to hide than she lets on. Never mind the fact this is an indie production, certain scenes in the movie far surpassed many A-list titles I've seen."
'Running Through Darkness' Independent Film Review - IndyRed
SIMONNE IN MARAT/SADE
"Marat is attended by his assistant, Simonne Evrard, in a wonderfully precise and oddly funny portrayal by Lillian Bornstein."
'Marat/Sade' is jarring, unorthodox and utterly fascinating - Minh-Anh Day for The Stanford Daily
TESTIMONIALS
"Lillian’s versatility as a performer has been evident to me from our very first encounter [...] She is an excellent team player and a generous ensemble member, setting a dependable tone of support that allows her co-performers to take risks and celebrate achievements as a cohesive group."
Jessi Piggott, Director of 'Saint Joan of the Stockyards' and 'The Downfall of Egotist J. Fatzer'
"Lillian’s intellectual rigor is remarkable. [...] [Her] critical understanding of theatrical convention - not just what constitutes a certain convention, but how and why it should be employed - adds an invaluable layer to Lillian’s aptitude for this profession. She is not only exceedingly skilled at performing in a variety of conventional styles; she is also able to assess the appropriateness of these styles for specific aesthetic and political ends. She is the kind of performer who makes smart, compelling theater. Lillian is keenly attuned to the way in which theater occurs within a specific social context, and she is dedicated to using her art to foster empathy and open discussion with local communities. [...] Lillian is an outstanding performer and an absolute pleasure to work with."
Jessi Piggott, Director of 'Saint Joan of the Stockyards' and 'The Downfall of Egotist J. Fatzer'
INTERVIEWS
Exit 42 Media - "Top Three Up and Coming Actors"'When asked what inspires them to create, Lillian explained that they love the collaborative possibilities of working as both a performer and a writer. They also told us that they believe “storytelling and art can help us imagine another world that is possible, and they can make people feel seen and valid and important. It’s crucial to be critical about to whom we’re affording the opportunity to be reflected in entertainment, and how.”
Lillian explained that “there’s a lot of structural inequality and exploitation in the entertainment industry. Even as an actor, I see huge problems as that structural inequality trickles down. The stories that are told and the people who are given the platform to be on screen and on stage are far more homogenous than they should be. As much as possible, I try to work with others to subvert that and push for change in the industry.”
They explained that “we’re too used to seeing all-white, all able-bodied, all cis people on our stages and screens, and that’s doing a disservice to audiences and artists alike. We and the art can only stand to benefit from making entertainment more accessible and just.”'
My brilliant friend and collaborator, Lili Fox-Lim, and I interviewed each other for Entertainment Network Live in one of my favorite interviews to date! I'm also featured solo here.
INTERVIEW WITH EXIT 42 MEDIA
I was recently featured in Exit 42 Media's blog post, "Top Three Up and Coming Actors," alongside two other badass creators. Thanks so much for the opportunity, Exit 42! Check it out here.
PIERPONT MAULER IN SAINT JOAN OF THE STOCKYARDS
"'St. Joan of the Stockyards' [...] follows ruthless tycoon Pierpont Mauler (Lillian Bornstein), a meatpacking plant owner with a pseudo-soft spot for suffering" (Hall). "Lillian has presence. She is a captivating performer. Even when placed on a huge, noisy set at a great distance from the audience, as was the case in Saint Joan, she commands the stage. I never cease to be amazed by the diverse ways in which this almost ineffable talent imbues her work. She can switch on a dime. One minute, she’s a larger-than-life, top-hatted capitalist dazzling the audience with masculine bravado in a stylized world of caricatures. The next, she pulls from this excessive character a moment of such vulnerability and truth that the audience holds its breath. This is more than versatility. It’s raw talent, shaped by a deep commitment to working hard and taking risks" (Piggott).
'Saint Joan of the Stockyards' gives power to the people - Alessandro R.L. Hall for The Stanford Daily & Jessi Piggott, Director of 'Saint Joan of the Stockyards'
KATE KELLER IN ALL MY SONS
"Arguably the most important examples of this combination of acting skill and natural fit are Caldwell and Lillian Bornstein’s portrayals of Mr. and Mrs. Keller, respectively. […] Caldwell and Bornstein do justice to Miller’s ideas about the shaky moral patchwork that holds up the illusion of a realized American Dream. Bornstein is excellent in the early scenes as a mother who enjoys a good hat and the womanly work of hosting guests […] Bornstein and Caldwell offer a sustained, slow burn.
The genius of Bornstein’s performance in particular is clear in one late scene. When Caldwell’s Mr. Keller tries to bully his opposition into believing him, Mrs. Keller snaps at him, “You have nothing to say,” with such silencing power that it becomes clear that she knows more than her husband, or anyone else, about the truth, what it takes to hold her family together, and the disconnect between the two. Mrs. Keller is not just a domesticated simpleton grieving for her lost son, as she seems. Her fragility and hospitality are weapons forged of love and deceit, used to put the end to any arguments based in rationality that might threaten her carefully constructed reality. In a way she is stronger and more cunning than the others.”
The dark American dream: A review of 'All My Sons' - Kelsey Dayton for Stanford Arts Review
JOYCE/JOAN/JEANINE IN TOP GIRLS
"Lillian Bornstein as Marlene’s sister and Angie’s mother Joyce also shines in her performance. She stands tall, yet weary; you can see it in the way her face settles into the lines of hard work, her brow furrowed, lips pursed, hands on hips and back slouched as if aching for a break. She’s angry, loud, brash, yet highly emotional and sensitive. Bornstein brings to the role a maturity far beyond her years, and she exudes the spirit (or lack thereof) of Joyce with every line she utters."
The mythical female: A review of 'Top Girls' - Loralee Sepsey for Stanford Arts Review
DON PEDRO IN MUCH ADO ABOUT NOTHING
"Lillian Bornstein was another surprising choice for the traditionally male Don Pedro, but quickly claimed a place in the audience’s hearts with her warmth. She proved herself able to turn on a dime, to become heartbroken and melancholy."
Review: 'Much Ado About Nothing' - Oxford Opening Night
A "standout for me was Lillian Bornstein’s Don Pedro, who looked utterly heartbroken after Beatrice refuses his marriage proposal."
Review: 'Much Ado About Nothing': Nina Crisp is enamoured by this sellout adaptation of Shakespeare's comedy at the Pilch - Nina Crisp for Cherwell
KAYLEEN IN GRUESOME PLAYGROUND INJURIES
"Bornstein, [...] in the first scene, adopts a shy, childlike demeanor, at times slouching her body into herself. By the end of the scene, she stands firmer, with a curious look in her eye as she reaches towards Doug’s wound, asking if she can touch it. [...] For me, watching Bornstein, in particular, touch Doug’s wounds in different scenes suggests a sense of tenderness in the confrontation of pain. [...] In another scene, Bornstein as Kayleen vacillates between pleading, crying, laughing and reminiscing as she paces around a hospital room where Doug lies, nearly brain-dead after another life-threatening accident. [...] In this painstakingly thoughtful production, Stanford Theater Lab creates a beautifully stitched narrative of hope, love and resilience."
'Gruesome Playground Injuries' is a grossly entertaining production - Alli Cruz for The Stanford Daily
BÜSCHING IN THE DOWNFALL OF EGOTIST J. FATZER
"Lillian Bornstein excels as both a worried Büsching and the swaggering, hypermasculine soldier with a soft spot that Fatzer exploits to get him to help the gang out."
'The Downfall of Egotist J. Fatzer': A hilarious, clever, and nontraditional exploration of Brecht, war, and gender - Noemi Berkowitz for The Stanford Daily
ROBIN IN RUNNING THROUGH DARKNESS
"Landon Beard, Lillian Bornstein and Eric Moyer all do splendid jobs within their given roles. [...] Lillian as Robin comes across as a broken woman with maybe a little more to hide than she lets on. Never mind the fact this is an indie production, certain scenes in the movie far surpassed many A-list titles I've seen."
'Running Through Darkness' Independent Film Review - IndyRed
SIMONNE IN MARAT/SADE
"Marat is attended by his assistant, Simonne Evrard, in a wonderfully precise and oddly funny portrayal by Lillian Bornstein."
'Marat/Sade' is jarring, unorthodox and utterly fascinating - Minh-Anh Day for The Stanford Daily
TESTIMONIALS
"Lillian’s versatility as a performer has been evident to me from our very first encounter [...] She is an excellent team player and a generous ensemble member, setting a dependable tone of support that allows her co-performers to take risks and celebrate achievements as a cohesive group."
Jessi Piggott, Director of 'Saint Joan of the Stockyards' and 'The Downfall of Egotist J. Fatzer'
"Lillian’s intellectual rigor is remarkable. [...] [Her] critical understanding of theatrical convention - not just what constitutes a certain convention, but how and why it should be employed - adds an invaluable layer to Lillian’s aptitude for this profession. She is not only exceedingly skilled at performing in a variety of conventional styles; she is also able to assess the appropriateness of these styles for specific aesthetic and political ends. She is the kind of performer who makes smart, compelling theater. Lillian is keenly attuned to the way in which theater occurs within a specific social context, and she is dedicated to using her art to foster empathy and open discussion with local communities. [...] Lillian is an outstanding performer and an absolute pleasure to work with."
Jessi Piggott, Director of 'Saint Joan of the Stockyards' and 'The Downfall of Egotist J. Fatzer'
INTERVIEWS
Exit 42 Media - "Top Three Up and Coming Actors"'When asked what inspires them to create, Lillian explained that they love the collaborative possibilities of working as both a performer and a writer. They also told us that they believe “storytelling and art can help us imagine another world that is possible, and they can make people feel seen and valid and important. It’s crucial to be critical about to whom we’re affording the opportunity to be reflected in entertainment, and how.”
Lillian explained that “there’s a lot of structural inequality and exploitation in the entertainment industry. Even as an actor, I see huge problems as that structural inequality trickles down. The stories that are told and the people who are given the platform to be on screen and on stage are far more homogenous than they should be. As much as possible, I try to work with others to subvert that and push for change in the industry.”
They explained that “we’re too used to seeing all-white, all able-bodied, all cis people on our stages and screens, and that’s doing a disservice to audiences and artists alike. We and the art can only stand to benefit from making entertainment more accessible and just.”'