Mackie Raymond is an actor, theatre administrator, and multimedia artist, as well as a recent New York transplant. She holds a B.A. in Media, Vocal Performance, and Arts Entrepreneurship from NC State University, and has worked with theatre companies throughout North Carolina. Most recently, she worked as Chautauqua Theater Company’s Artistic/Marketing Apprentice and Assistant Director of their New Play Workshop production of Agent 355.

As a freelance director, she directed Sarah Billings’ Funeral Jane for the North Carolina Women’s Theatre Festival, and several original works by young playwrights for Burning Coal Theatre Company’s KidsWrite! New Play Festival, and she conceived, co-produced, and directed NC State University’s annual Murder Mystery Dinner event in its first two years. She is also the Co-Founding Artistic Director of Star Pocket Theatre, a Raleigh-based theatre company. In 2017, she worked as Raleigh Little Theatre's first annual Jack Hall Artistic Intern, and in November of 2017, she co-produced Mashallah: Exploring Middle Eastern Identities in America, a storytelling event. In April of 2018, she co-produced Star Pocket’s inaugural stage production of Carson McCullers' The Member of the Wedding, in which she also played Frankie Addams.

In May, she completed a 2018-2019 Marketing/Development & Front of House Apprenticeship at Triad Stage. Her extensive nonprofit involvement has included work with the Charlotte PPL, 826DC, and the Sehgal Foundation.

There’s nothing more intimate in life than simply being understood.
— Brad Meltzer

I believe in theatre as a means of transforming a culture. My most formative education has taken place in the theater, in trading stories. I feel that I am carrying on a great legacy every time I create work for the stage: I am baring my soul to an audience, and together we are expanding our connections and collapsing our divisions. There is no education more necessary than this.

My work is grounded in radical empathy. It is an active, ongoing exercise in understanding other people, and finding our common ground. I often say that I feel more invested in the lives of stage characters than in my own life, and this is true. I am most vibrantly alive when I am inhabiting or examining a character. I become obsessed with them. They never leave me.

There is something revolutionary about being sensitive, tender, and soft in a world that encourages us to be hard, to conceal our truest selves. I consider my sensitivity my greatest strength, and my rebellion. For me, there is no thrill like feeling deeply. It is this thrill that brings me back to the theater, again and again.