About Maggie

Maggie Hollinbeck is an actress, singer + musician with roots in pop/rock and indie folk music. She’s known for having a voice and presence that is warm, grounded, and rough around the edges. 

Maggie started playing piano at age 3, and thought she’d grow up to be a professional jazz pianist — until a stint in the orchestra pit of her high school’s winter musical got her equally interested in what was happening on stage. She balanced theatre and choir classes with orchestra and jazz band.

In her junior year her skills coalesced when the school’s voice teacher fell ill. As substitute teachers filed in and out, Maggie was asked to take over duties directing the school’s show choir and music directing spring musicals. By the time she graduated from high school she had over a dozen acting credits from school and community theatres, and had started music directing in the community as well.

Maggie went on to study theatre in college, working her way through school by accompanying dance classes and music directing shows all over town. By the time she graduated with her B.A. she had already made her professional debut and spent two summers in summer stock. After graduation, she headed for New York City and started pounding the pavement.

Her first regional role, as Trina in Falsettos, set the tone for playing warm, grounded, funny women who belt it out in the 11th hour. The next show she booked, Honky-Tonk Highway, earned her an Equity card and, perhaps even more crucially, required her to play piano — and nine other musical instruments — initiating her into the burgeoning actor-musician genre, where she’s now a fixture.

As an actor-musician she has appeared in the 1st national tour (and four subsequent regional productions) of Once, the 10th Anniversary revival of Come From Away at Seattle Repertory Theatre, and as various women in the lives of various famous men like Johnny Cash, Buddy Holly, John Denver and Woody Guthrie. Today she is proficient on piano, guitar, accordion, bass + mandolin. And she’ll make a noise on just about anything else she’s asked to play.

She also acts just fine with no instruments in her hands at all.

Maggie shifts easily from warm, maternal roles like Beulah in Come From Away, Trina in Falsettos, or Baruška in Once, to strong, elegant figures like Queen Elizabeth in Richard III and Barbara in August: Osage County, gravitating always to roles that demand intellect, heart + grit.