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see what I’ve been up to onstage, on camera, and in your ears (on podcasts)

Emmy Potter is a New York-based actor, writer, comedian, and director by way of the Midwest. Her writing has appeared on Consequence of Sound, Crooked Marquee, Bright Wall/Dark Room, IFC, Culture Sonar, Girls On Tops, The Belladonna Comedy, in a commemorative coffee table book for The Marvelous Mrs. Maisel published by Abrams Books, Amazon Studios and TCO Printworks, on screens outside Theatre for A New Audience at the Polonsky Shakespeare Center, and even the marquee of Nitehawk Cinema. She is also the author of several plays including Maneater, which she produced and directed Off-Off Broadway, and The Wayward Women, which was commissioned by the Phoenix Theatre Ensemble. One of her monologues was recently published in Vol. 4 of the Playground Experiment’s Faces of America anthologies.

Emmy served as an adjudicator for the Storytellers Initiative pilot script competition at SeriesFest for four years and spoke on the (S)heroes Women of Action panel at Split Screens Festival in NYC. She is a frequent guest on Podcast Like It’s, Exiting through the 2010’s, Hit Factory, and Comic News Insider.

As an actor, Emmy has appeared in a variety of roles across multiple mediums (stage, film, and new media). From Classical (Chekhov, Seneca, Wilde) to Contemporary, Emmy’s versatility as an actress comes from years of rigorous training and a deep love of and sensitivity to the text.

Emmy also produced, hosted, and performed in the monthly show A Great Week for Women with her all-female comedy-writing group. She holds a B.M. in Music Theatre from Oklahoma City University and is certified in the Meisner Technique. She is currently pursuing her MFA in Playwriting at the University of Nebraska-Omaha.

Emmy is a proud member of the Dramatists Guild.


Emmy Potter possesses a sonorous, colorful, and strong vocal instrument that is well-enough schooled and easily-enough produced to withstand the rigors of Seneca’s demands while conveying the nuances of the tragedy with consistency and apparent ease. A standout.
— review, Q Onstage (2022)