Eleanor Moseley

Eleanor Moseley is a veteran stage and film actor, formerly a member of AEA and SAG-AFTRA.  She is now available to work on more NW stages and has appeared with Seattle Shakespeare Company,  ACT MainStage,  ArtsWest, Island Stage Left, Wooden O, Book-It Repertory Company, Greenstage, and others.  Prior regional credits include work in NYC, North Carolina, and the Bay Area.   Recent film and web projects include her rap video “Maintain (don’t bemoan it)” and the award-winning short “Men I Trust” (winner, “Best Actress” at the Madrid International Short Film Fest).  Other film appearances include”The Dark Horse,” “Regulate,” “Children of Light” and many tv, commercial, and industrial projects  A trained dancer and certified stage combatant (rapier/dagger and unarmed combat), she is fluent in French, with strong Spanish language and dialect skills.

Reviewers say…

“Wit” at Second Story Rep.  Directed by Peggy Gannon.  The captivating and intense Eleanor Moseley as Dr. Vivian Bearing… Without an actor able to pull off what feels like a solo performance, this play fails. There is no failure possible here with Moseley pulling out all her abilities and sharing this tortured journey with us.

“Death of a Salesman” at ArtsWest.   Directed by Mat Wright. (Winner, Best Actress in a Small Theater, Gypsy Rose Lee Award.  This 2016 production also won Best Direction and Best Actor).

David Pichette’s Willy is a canny mixture of false bravado, duplicity, regret, deep pain, and sorrow…  Huzzahs are equally due to the achingly moving work of Eleanor Moseley as his wife Linda, a stoic, yet warm lady who is finally pushed to the borders of unleashing deep anger she has harbored. —David Edward Hughes, Queerspace Magazine

Eleanor Moseley as Linda Loman, was Mr. Pichette’s equal.  Perhaps the most sympathetic character in the play…  Moseley played her as someone with a firm grip on reality but with kindness and respect for her husband and a wish to protect his vulnerable side.  Her major monologues were handled extremely well, the tragedy of the situation came through without any tricks or pathos— Marie Bonfils, Drama in the Hood

“The Lion in Winter”  at SecondStory Rep.  Directed by Eric Polani Jensen

Eleanor Moseley, running the emotional spectrum from determination and desperation, to devilish manipulations and back again, is mesmerizing as Queen Eleanor. The relationship between Henry and Eleanore is beyond volatile… Dizney and Moseley play every shade and texture from antagonism to seduction to destruction. There is real pain, heartbreak, and tragedy behind their venomous battles. —Dewey Mee, Daily Record News

SecondStory Rep has mounted a strong production with excellent cast members, particularly in the roles of Henry and Eleanor.  As Eleanor of Aquitaine, Eleanor Moseley… is performing the role at exactly the right time for her. She looks radiant… yet a bit haggard, as she tries to outsmart her husband every way she can. –Miryam Gordon, Seattle Gay Scene

 “The Long Road” at Arouet Theater Company.  Directed by Zandi Carlson

Powerful material is combined with superb acting. I ached for Eleanor Moseley… whose pain was palpable, whose confusion about what had happened to their lives and whose anguished efforts to cope were heartbreaking.

–Nancy Worssam, Arts Stage-Seattle Rage

“Slaughterhouse Five” at Book-It Repertory Company. Directed by Josh Aaseng

Though women are ostensibly marginal to the plot…actors Jocelyn Maher, Sydney Tucker, and Eleanor Moseley fill out the ensemble with a bewildered honesty that gives Slaughterhouse-Five its real ballast… When the wife of Vonnegut’s old war buddy, played with stately indignation by Moseley, sees the writer come to visit, she’s quietly outraged. “You were just babies in the war,” Moseley says with restrained anger.   –Brendan Kiley, The Stranger

“Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean” at Hugo House/Women Seeking A Theater Company.  Directed by Christine Mosere

“Eleanor Moseley as the older Sissy is physically all wrong for the part; she is blessed with the long graceful lines of a well-bred racehorse suitable for tough noirish dames and elegant uptown/county club ladies, not small-town, white trash sluts, but Moseley’s talents as an actress quickly convinces you that she is Sissy and her strong abilities to play both the very obvious comedic aspects of the part as well as the truly tragic make Sissy the most interesting, entertaining and heart-breaking in the play.”

—Michael Strangeways, Seattle Gay Scene