About Me
Robin knew from an early age that she wanted to be an artist. A Philadelphia native, she participated in every music ensemble and theatre troupe, and even took summer school courses to free up time for extra art classes during the year in grade school. Her passion for the arts brought her to Washington, D.C., where in 2017 she graduated from the American University with a bachelor's degree in Musical Theatre and a minor in Art History.
Robin Weiner is currently working as an actress and visual artist in the DC-Maryland-Virginia area. Previously, Robin has worked for Flying V Theatre, Imagination Stage, Rorschach Theatre Co., Mosaic Theatre, American University, Annapolis Shakespeare Co., Theatre Prometheus and the Folger Shakespeare Theater.
Robin is an equity membership candidate!
In her downtime, Robin enjoys writing a webcomic, reading books before watching their movie adaptations, and writing comparative art historical analyses of famous paintings and pop culture (but hey, doesn't everybody?).
Particularly funny is Ms. Weiner. Her solo “I Hate Men” is a highlight of the evening. Watching her fully commit to the frustration she feels with Fred and every other male, she nails every sigh, facial expression and holler. She is a very talented comedienne and is made for this type of musical comedy.
Kristen Price, Maryland Theatre Guide
Kiss Me, Kate, 2018
Robin Weiner as Marcus Lycus, and all her courtesans and eunuchs, as well as the proteans are superb.
Paul M. Bessel and Barbara Braswell, DC Metro Theatre Arts
A Funny Thing Happened on the Way to the Forum, 2016
A lot of credit must also go to the brilliant stage management team, consisting of three students, Natalie Rine, Anna Kabis, and Robin Weiner, who manage to keep the cast moving despite the confines of a very small stage. There are constant comings and goings of course, with never a dull or awkward moment.
Ravelle Brickman, DC Metro Theatre Arts
No, No, Nanette, 2016
"My favorite performance was given by Robin Weiner as the grandmother, Bella. While playing a relatively minor role at the beginning, her soliloquy in the final scene powerfully wraps up the issues of personal freedom, communal obligations, justice, freedom, and love."
Bev Fleisher, DC Metro Theatre Arts
Big Love, 2016
"The vaudeville trashy-glam aesthetic is evidenced in the blood-red velvet curtain that hangs under an ornate mock-proscenium frame affixed on the actual raked stage, itself replete with incandescent foot lights. It is a twisted carnival that looks alluring enough until the knives come out, and even then there’s something about the danger that is, well… sexy."
Michael Poandl, DC Metro Theatre Arts
The Threepenny Opera, 2015