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JOAN RAUBE-WILSON

ACTOR       MUSICIAN       EDUCATOR

About

Hello there!

My name is Joan and I'm a multi-hyphenate theater artist based in Staunton, VA.​

​I'm currently in my final year of graduate school at Mary Baldwin University, completing an MFA in Shakespeare & Performance.​​

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Current Updates

Now Playing:

Throughout the 2025-2026 academic year, I'll be touring with two Constellation Shakespeare productions: Macbeth(playing Lady Macbeth), and

The Sea Voyage (playing Clarinda)

Click here for more info about booking a tour!

Coming Soon...

In January, I'll be starting rehearsals for All's Well That Ends Well, in which I'll be playing the King of France. This production will be performed at the Blackfriars Playhouse as part of Constellation Shakespeare's spring season. More details coming soon!

RECENT REVIEWS:

Lady Macbeth in Macbeth

(Constellation Shakespeare)

"Macbeth’s relative inaction was countered in a standout performance by Joan Raube-Wilson as Lady Macbeth. Precise and thoughtful, Lady Macbeth had very little fear, and turned that into a pragmatic practicality that found both surprising comedy and deep pathos...during the sleepwalking scene, Raube-Wilson brilliantly replayed many of the gestures from their earlier intimacy, only now in a solo scene: using her hand to pull her own head towards an unseen focal point, grasping at hands that weren’t there, trying to lead

someone around the space but finding them absent, and falling into distress and ungodly shrieks of loneliness. Raube-Wilson did more than many Lady Macbeths I’ve seen to find a cohesive connection between the physical relationship of husband and wife in the early scenes, and her isolation in her final appearance." (Peter Kirwan, The Bardathon)

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Clarinda/others in The Sea Voyage

(Constellation Shakespeare Collective)

"Raube-Wilson turned what could have been a Miranda parody into a deeply ethically motivated woman, who saw Albert and immediately started questioning her mother’s entire attitude towards men, taking control and snapping at her fellow women. Clarinda was unencumbered by baggage, and responded to everything she was told with an open-hearted trust that was also desperately moving...The transformation in Clarinda was the production’s most profound character point, turning a romp into – from at least one character’s perspective – something approaching a coming-of-age tragedy."

(Peter Kirwan, The Bardathon).

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