Lexie Braverman is a actor born and raised in Philadelphia, currently residing in Chapel Hill, North Carolina. She is a graduate of Ithaca College and the Bristol Old Vic Theatre School. Her first role was the Cowardly Lion at day-camp in the Wizard of Oz when she was 11, because her hair was so big and her voice was so low. She went on to graduate from Ithaca College, performing in fantastically reviewed Underground productions like Boys’ Life by Harold Korder and Fat Pig by Neil Lebute. After graduating with her BA, she found her love of Shakespeare and Chekhov when she attended the Bristol Old Vic Theatre School’s MA program oversees. After graduating the Old Vic, she was lucky enough to work with the Philadelphia Shakespeare Theater, the North Carolina Shakespeare Festival, and the American Shakespeare Center. She recently finished the 2016 Actors’ Renaissance season at the American Shakespeare Center performing 5 plays, in three months, with 12 actors, and no directors. That season changed her life.
Lexie garnered rave reviews while performing in the one-woman drama ‘Dark Vanilla Jungle’ with Burning Coal Theater Company. The production was taken oversees to participate in the Camden Fringe Festival in London, UK.
After performing with the Philadelphia Artists’ Collective, Braverman made her way to North Carolina to perform with the newly minted Aggregate Theatre Company in their Inaugural production of Doug Wright’s The Stonewater Rapture.
Braverman is excited to announce her move to NEW YORK CITY in August 2017!!!
“As this play is a monologue, its strength depends on the performer, who must create this entire world alone onstage. Luckily, Lexie Braverman is up to the task, showcasing her impressive acting skills and effectively capturing the fragile emotional terrain of a young woman wronged by the world. Braverman starts off as a friend sharing a story and then begins to angrily defend her crimes, as though the audience is a jury, directly addressing those in the front row. As her character gains excitement she speeds through parts of her tale, convincingly capturing the many twists and turns of her character’s emotional and psychological state.”- by Adrienne Urbanski on 4.2.17
The Stonewater Rapture Is a Very Robust First Production for Aggregate Theatre Company.
On the ninth day of Sunday School, I learned that “Thou shalt not bear false witness against thy neighbor.” But nothing was said about bearing false witness against myself.
Generally speaking, we all know why we lie to ourselves: to protect ourselves from the truth. Shakespeare, Camus, and Vonnegut made careers of telling us so.
The Aggregate Theatre Company’s inaugural production of Doug Wright’s 1983 play, The Stonewater Rapture, asks not why we deceive ourselves, but how we do it.
Wright is best known for penning the Pulitzer Prize-winning I Am My Own Wife and the Tony Award®-nominated book of the musical Grey Gardens (another play about self-deception).
The play’s unfortunate title — both forgettable and imprecise — has an initial premise that promises to bore. But all synopses that I encountered proved misleading; Doug Wright’s play was waiting around the corner to punch me right in the face.
Owner and artistic director Matthew Hager chose The Stonewater Rapture, which premiered in 1983, as the inaugural production of his new venture, Aggregate Theatre Company. This production, which runs through June 23rd at Downtown Raleigh’s Imurj, supports the cliché that big things can come in small packages.
Directed with sensitivity and precision by Jaybird O’Berski, this hour-long play consists of two conversations between a pair of fundamentalist Texan teenagers: the pensive Whitney and his new girlfriend, the rambunctious Carlyle. The two grapple with their own lustful urges, vowing to keep their eyes on the prize: a place in Heaven with their Lord and Savior, Jesus Christ. Over the 60 minutes, layer upon layer of self-deception is peeled away, revealing horrifying truths.
Matthew Hager plays Whitney with admirable subtlety, and makes no judgments about the character’s decisions. The fearless Lexie Braverman plays Carlyle with such raw honesty that I believe her character’s delusions. Both actors deliver some of the finest work that I have seen in the Triangle this season.
The closeness of the audience to the stage pulled me into the charming world of these characters with ease. I never anticipated the terrors that were to come.
I highly recommend attending this production, not only to experience terrific artistry, but also to support a new independent local theater company — one that is off to a very robust start.———— Dustin K. Britt.
“During one emotional high-point, two hooray-Henrys loudly blunder into the theatre by mistake, not having realised there’s a play on. One of them (called Rupert, natch) loudly chats behind the curtain, throwing it open and recoiling in shock when he realises there’s a show on. Braverman doesn’t flinch, instantly (and quite brilliantly) incorporating this intrusion into her performance.
That’s just one example of the many micro-moments that combine to make a gripping performative tapestry. Braverman’s Andrea is somehow girlish/mature, sexy/ugly, manipulative/manipulated etc all at once. Being able to tease out a crystal clear character through this is partly down to Ridley’s evocative writing, but also down to Braverman’s viscerally palpable, real Andrea."
At the Camden Fringe, a late night slot is often reserved for some quite dark material, and Dark Vanilla Jungle certainly lives up to its title. Playwright Philip Ridley is well known for covering some pretty grim topics, and to be honest they don’t get much grimmer than the grooming of teenage girls, sexual abuse, psychological manipulation, landmine injuries and death, with references to drugs, prison and strokes thrown in for good measure. I think it’s fair to say that this is pretty intense stuff! With such challenging material, you need a really good actress to pull it off and thankfully Lexie Braverman is just that.
Braverman’s powerful, emotional rendition doesn’t require any support, however lighting designer Matthew E Adelson does deserve a special mention. There is nothing too fancy, which would just detract from such a raw performance anyway, but he cleverly uses the lights to build up the atmosphere and recreate events, like the party Andrea attends in a London tower block. Combined with Braverman’s compelling acting, the changing lighting adds an extra layer of intensity and realism to the show.
This is a simply standout production. The audience is invited to play detective, putting together a jigsaw of Andrea’s life, piece by piece. It’s dynamic, moving, and incredibly intense. You won’t be able to look away, as much as you might want to in certain places. While the subject matter is not for everyone, the show does not deserve the empty seats; so if you fancy something a bit dark, get yourself to The Cockpit.
“Lexie Braverman has become adept at steering ships. It’s Braverman, specifically and generically as representative of a gathering of actors who can burnish gold into a glorious gleaming, as they do with The Tempest, and create gold out of doo-doo, as they do with The Sea Voyage.”
“Clarinda, one hot Amazonian princess, (a lovely Braverman, changing from her ship’s crew gear into tribal warrior woman wear in doubling the roles)”
“It’s Braverman, and Reed that are playing archetypes as Clarinda, and Raymond, but they subtly craft their presentations to give us singularly engrossing characters rather than caricatures.”
“These are actors; they are crazy by genetic necessity. Put a dozen of them together in the pressure cooker of producing this bizarre play in one week while already performing a repertoire of Shakespeare’s The Tempest and Measure for Measure and Thomas Middleton’s Women Beware Women (none of those are light lifting), you can’t imagine the creative zaniness they engender.”
“There’s a sense of danger in these Ren Season performances—theatrical danger that comes with ensemble self-direction, short rehearsal times that lead to improvisational moments, and what the actors call “textual instability” (i.e., forgetting their lines, hence the need for a prompter on the side). There’s actor ego in these productions, too, the need to get the crowd all-in. However, with this company, it’s a collective ego. As Tibalt Dupont would tell you, they have a duty not just to the audience but to the playwrights and to the ASC mission of demonstrating the enduring value of early modern English theater in the kind of environs in which it originated. Bet you were laughing so hard watching The Sea Voyage you didn’t realize you were being enlightened."