KATIE HILEMAN (she/her) is a fat DIY theatre maker working out of Baltimore, MD. She is passionate about developing and producing high quality, meaningful new works for the stage by local artists on a tiny budget. In her work, she strives to create brave spaces for collaboration, expression, and storytelling to take place with a consent-based, trauma-informed practice, while working to dismantle the Corporate Theatre Machine that favors the thin, white, cis-male, and beautiful. Katie believes that theatre, at its core, is storytelling, and she is here to help you tell your story as she continues to explore how to tell hers.
She is the Artistic Director and co-founder of The Interrobang Theatre Company where she has acted, written plays, directed, and cleaned toilets. With her company, she has produced 14+ new works for the stage, including runs at Charm City Fringe Festival (Best of Fringe 2014), Charm City Nights on the Fringe, and NYC Fringe.
Beyond Interrobang, Katie is a prominent and sought after artist in her theatre community - writing, performing, directing, and choreographing intimacy for many local and regional companies including The Acme Corporation, Rapid Lemon Productions, Tres Brujas Productions, Single Carrot Theatre, Cohesion Theatre, Venus Theatre, RepStage, Submersive Productions (company member), and more.
Her original work centers around messy, ugly, contemporary women; focusing primarily on issues surrounding the beauty, pain, and absurdity of living in a fat body. She also makes work about how much she hates the theatre, the patriarchy, herself, and being alive. She likes to keep her plays weird and hyper theatrical with the belief that plays are meant to be viscerally experienced, not just watched.
Outside of theatre, Katie loves to bake bread and pet dogs.
She holds a BFA in Acting from University of Maryland, Baltimore County (UMBC), and an MFA in Theatre Arts From Towson University. She is on the Assistant Faculty of Theatrical Intimacy Education.
Anti-Racism Statement: I acknowledge that the Theatre Industrial Complex is racist. I acknowledge that I have benefitted from and participated in perpetuating this harmful system as a white, cis-female theatre maker, educator, and leader. It is my firm belief that the best theatre is that which makes both artist and audience feel seen, heard, understood, and safely held to explore that which we can’t always be put into words. It is my commitment as a theatre artist to unrelentingly pursue that type of experience in all of my work, and to continually question and confront white supremacist ideals that stand in the way of that pursuit in the form of a consent-based, trauma-informed, artist lead practice.