Hannah Cabell was born in New Hampshire to a family of performers. She grew up while

touring the country and the world with her parents’ company, the

Starbird Puppet Theater. At 16, she earned her Equity card at the summer stock

theater where her father also acted. There, she performed in plays by Brian Friel,

Anton Chekhov, Martin McDonagh, and others. She studied Russian Language and

Literature with a concentration in Theater at Oberlin College, and then moved to

New York, where she founded a sketch comedy trio and played in a band. She

attended Tisch School of the Arts Graduate Acting Program, graduating in 2006. She

has been working professionally ever since.

Continue reading “Bio”


A commanding Hannah Cabell imbues the nameless protagonist with a tough, cocky self-satisfaction in the play’s opening minutes, as she describes the rush she gets in flight, and the easy camaraderie she shares with her fellow (mostly male) pilots. Her dark eyes glisten with pride and excitement as she describes her life. She’s a woman who’s as happy in her skin as she is in that suit.

New York Times, January 17th, 2014: Review of “Grounded”

The cast is rounded out by Becca Blackwell, Hannah Cabell, Danielle Davenport, Danaya Esperanza, Birgit Huppuch and Layla Khoshnoudi, and they’re all good company. And while the stage they inhabit is as small as most studio apartments, they are improbably able to make us believe they are indeed roaming wide-open spaces where it’s all too easy for a man, of any persuasion, to get lost forever.

New York Times, June 23rd, 2015: Review of “Men on Boats”

Translated into fluid English by Christopher Hampton, “The Father” has a highly capable cast of six, rounded out by Brian Avers, Charles Borland and Kathleen McNenny. I won’t say much about the roles they play, except that for André, they are often bewilderingly interchangeable.

New York Times, April 14th, 2016: Review of “The Father”

A joint Off Broadway production of Clubbed Thumb and Playwrights Horizons, the show combines the playful inventiveness of the former with the theatrical discipline of the latter. Paddle or portage your own boat to the theater — but get there.

Variety, August 1st, 2016: Review of “Men on Boats”