Lizzie Roberts is a Brooklyn-based actor and writer whose love of storytelling sprang from long afternoons as an only child creating elaborate romantic dramas between her twelve Beanie-baby cats. After studying Creative Writing and Neuroscience at Oberlin College, she trained as an actor at Shakespeare and Company, falling head over heels for the classics before returning to her home of New York City, where she performed locally and regionally. She later furthered her training at the William Esper Studio, and graduated from their Two-Year Program in 2018.

In 2020 she began writing custom content for actors’ reels with the company Reelarc, and discovered that she enjoyed writing scenes as much as being in them. Her first feature, Devil’s Peak, was accepted into the 2023 Oberlin Screenwriters Intensive, where it was workshopped by an incredible group of mentors and has since placed in the semifinals of the Nicholl Fellowship and Austin Film Festival, as well as the quarterfinals of several other competitions. Her favorite work as a performer and writer are pieces that cross the boundaries of genre - she’s a sucker for a comedy that makes you weep. She’s currently still staffed in the writers room at Reelarc, meeting one-on-one with actors to write customized scenes across every genre - though romcoms and medical procedurals remain two of her favorites. She also works as a guest actor at the School of Visual Arts, helping educate young filmmakers on how to work with actors.

Outside of performing and writing, she enjoys collecting plants that she cannot seem to keep alive, rollerskating, making squid pasta, biking through the streets of NYC and glamping.

Her most recent film work can be seen in the pilot for Freak and Donna, written and directed by Emily and Lexi Gee - and come see her perform in the world premiere of feejee mermaid by Clay McLeod Chapman, directed by Pete Boisvert, on 10/23/24!

Favorite regional/New York credits: A Long Walk To Forever (Catharine, The Bridge Theater), All’s Well That Ends Well (Widow, Hedgepig Ensemble), Much Ado About Nothing (Beatrice, Juneberry Collective), and You Should Be So Lucky (Wanda Wang, Theater Barn).

Other favorite role: ‘speaking’ John Adams in her fifth grade grade production of 1776, when she put baby powder in her hair to convincingly age herself up.