Renée Elise Goldsberry Bio, Age, Husband, Movies, Rent

Renée Elise Goldsberry Biography

Renée Elise Goldsberry was born in San Jose, California, United States. She is an American actress, singer, and songwriter. He is best known for her role as Angelica Schuyler Church in the Broadway drama, ‘Hamilton’, for which she won multiple awards, including a Grammy for Best Musical Theatre Album.

Renée Elise Goldsberry Age

Goldsberry was born on January 2, 1971, in San Jose, California, U.S. She is 48 years old as of 2019.

Renée Elise Goldsberry Family

Goldsberry was born in San Jose, California, to Betty Sanders an industrial psychologist and a chemist and a physicist, father who was also a successful automobile industry executive. She is of mixed ethnicity and was brought up in Houston and Detroit.

Renée Elise Goldsberry  Husband

Goldsberry married Alexis Johnson New York attorney in 2002. The two have a son Benjamin Johnson born In May 2009. The couple later adopted a second child, a daughter from Africa by the name Brielle.

Renée Elise Goldsberry Height

Renee Elise Goldsberry stands at 1.7 m tall.

Renée Elise Goldsberry Image

Renée Elise Goldsberry
Renée Elise Goldsberry

Renée Elise Goldsberry Career

Goldsberry had a recurring role on the Fox legal comedy-drama Ally McBeal, as one of the back-up singers who frequently accompanied Vonda Shepard’s performances. She featured in a total of 43 episodes prior to the series’ cancellation. Goldsberry also carried the role over into a three-episode guest appearance on the spin-off series Ally.
Goldsberry also portrayed attorney Evangeline Williamson on the ABC soap opera One Life to Live from 2003 until 2007. Goldsberry was nominated for the Daytime Emmy Award for Outstanding Supporting Actress in a Drama Series in both 2006 and 2007 for the role. Goldsberry held a recurring role as assistant state attorney Geneva Pine on the CBS political drama The Good Wife, appearing multiple times every season throughout its run. She ultimately appeared in 23 episodes between 2010 and the series end in 2016. Goldsberry has also made guest appearances on series such as Star Trek: Enterprise, Royal Pains, Law & Order: Special Victims Unit, Younger, Masters of Sex, and That 80’s Show.
Goldsberry starred as Henrietta Lacks in the HBO television film adaptation of Rebecca Skloot’s nonfiction work, The Immortal Life of Henrietta Lacks. In 2018, she featured in the Netflix science fiction series Altered Carbon as Quellcrist Falconer. She also performed the Johnny Cash song Ain’t No Grave for the end credits to the final episode.
Goldsberry had the lead role of Nicole Taylor in the romantic comedy All About You, for which her performance was praised. She also portrayed Drea Smalls in the 2008 action film Pistol Whipped, and small supporting roles as Cynthia Barnes in the crime drama Every Secret Thing (2014) and Kim in the comedy Sisters (2015).
Goldsberry played a replacement Nala in the Broadway production of The Lion King and was in the cast of the United States national tour of Dreamgirls. She was nominated for a Drama League Award for Distinguished Performance, and won a New York magazine Best of 2005 Award, for her performance as Sylvia in the 2005 Shakespeare in the Park revival of Two Gentlemen of Verona.[6] Goldsberry later originated the role of Nettie Harris in The Color Purple, the Broadway musical adaptation of the Pulitzer Prize-winning 1982 novel of the same name.[6] She starred in the production from November 2005 to January 2006.
Goldsberry originated the role of Angelica Schuyler in Hamilton, playing her last performance in the role on September 3, 2016.
Goldsberry has had a lengthy singing and songwriting career, co-writing and performing more than half the soundtrack to the 2001 film All About You, including the title song. Goldsberry wrote and recorded an album titled Everything But the Kitchen Sink (2001) and an EP titled Beautiful (2006). In October 2015, she appeared at the BET Hip Hop Awards, where she was one of two women to rap in the Cypher.

Renée Elise Goldsberry Net Worth

Goldsberry has an estimated Net Worth of $1 million.

Renée Elise Goldsberry Hamilton

Goldsberry portrayed the role of Angelica Schuyler in Hamilton, an American Musical sung-and-rapped through musical about the life of American Founding Father Alexander Hamilton, with music, lyrics and book by Lin-Manuel Miranda.

Renée Elise Goldsberry Satisfied Lyrics

Renée Elise Goldsberry Altered Carbon

Renée Elise Goldsberry starred an American dystopian science fiction cyberpunk web television series Altered Carbon where she played the role of Quellcrist Falconer, portraying a “master strategist” and leader of the Envoys, as well as a love interest of Kovacs’.

Renée Elise Goldsberry Rent

Rent is a rock musical with music, lyrics, and book by Jonathan Larson, loosely where she portrayed Mimi Márquez.

Renée Elise Goldsberry The Good Wife

The Good Wife is an American legal and political drama television series where she played the role of Geneva Pine.

Renée Elise Goldsberry Movies | Renée Elise Goldsberry Tv Shows




1997–2002Ally McBealSinger
Any Day NowBeverly Morris
That ’80s ShowSpokesmodel #2
Star Trek: EnterpriseCrewman Kelly
One on OnePaulette
2003–07One Life to LiveEvangeline Williamson
2008The Return of Jezebel JamesPaget Kaufman
Rent: Filmed Live on BroadwayMimi Marquez
Life on MarsDenise Watkins
2010Royal PainsMrs. Phillips
White CollarEllen Samuel
2010–16The Good WifeGeneva Pine
2013The FollowingOlivia Warren
Save MeMary
2013–14Law & Order: Special Victims UnitMartha Marron
2014Masters of SexMorgan Hogue
2015YoungerCourtney Austin
2016I ShudderLucy Wainscott
2017The Get DownMisty Holloway
The Immortal Life of Henrietta LacksHenrietta Lacks
2018–19The Lion GuardDhahabu (voice)
2018–presentAltered CarbonQuellcrist Falconer
2019Documentary Now!Dee Dee

Renée Elise Goldsberry Songs

  • Satisfied
    Hamilton · 2015
  • The Schuyler Sisters
    Hamilton · 2015
  • It’s Quiet Uptown
    Hamilton · 2015
  • Take a Break
    Hamilton · 2015
  • Non-Stop
    Hamilton · 2015
  • Muppet Babies Theme 2018
    Mini-Mapper. Unalaska Muzyka (Originalnyi Saundtrek) · 2018
  • Ain’t No Grave
    Altered Carbon (Original Series Soundtrack) · 2018
  • If I Loved You
    Billy Porter Presents: The Soul of Richard Rodgers · 2017
  • The Christmas Song
    Huckleberry Pie / Mysterious Ways
    The Color Purple · 2006
  • Our Prayer
    The Color Purple · 2006
    Lily of the Field
    The Color Purple · 2006

Renée Elise Goldsberry Ain’t No Grave

She also performed the Johnny Cash song Ain’t No Grave for the end credits to the final episode. Ain’t No Grave, a traditional American gospel song attributed.

Renée Elise Goldsberry One Life To Live

One Life to Live is an American soap opera where Renée Elise Goldsberry featured in as Evangeline Williamson.

Renée Elise Goldsberry Henrietta Lacks

Goldsberry starred as Henrietta Lacks in the HBO television film adaptation of Rebecca Skloot’s nonfiction work, The Immortal Life of Henrietta Lacks.

Renée Elise Goldsberry Video

Renée Elise Goldsberry Instagram

Renée Elise Goldsberry Twitter

Renée Elise Goldsberry Interview

I wanted to start by talking about your acting process. When you see a character on the page, where do you begin?
Really just with the words and the intent of the writer. I think actors, by nature, are pleasers, so I think our first instinct is to want to fulfill the vision of the writer and director and, at the same time, bring ourselves to it. I often hear people say, “He’s just playing himself,” like that’s not what we’re trying to do, and I have no shame at all in saying that I’m trying to find the part of me that is that character. So there will be similarities between characters that I play because there will be things that work for more than one character. I think the more intimately you know a character, the less of you-you’re trying to censor. There’s not a part of my day or my experience that I don’t think can serve any character I play.
The point is to be an individual, and that’s why people get hired.
Right. Absolutely. I think the best kind of training highlights what’s individual and unique about you. And the worst kind of training tries to make you sound like something else. Your regionalisms, your quirks, your insecurities—[these] are all things that make you interesting as an actor.
Something that I’m obsessed with asking actors about is, in an industry where you’re always being “typed” and told what you’re good at and not good at, how you develop as an individual and figure out who you are?
I’m always having debates with actors about feedback. I’m 100% against getting feedback about auditions, I’m 100% about getting feedback from directors and when you’re working with people. But in terms of you going out for roles, it’s your job or it’s not, but I don’t need information about why it didn’t happen. Because most of the time, there’s nothing that’s true about what I’m going to hear, especially by the time it gets back to me in the game of telephone. I honestly believe it’s either your job or it’s not, and all the rest of that work trying to find out, “Was I funny enough? How did I do in that moment? Was I this or that?” It’s not helpful. As actors, it’s destructive because we give it too much weight.
Have you always felt like that, or was that something that developed over time?
I think I’ve always felt like that. I think you have to be very particular about who you get feedback and criticism from, and there are certain processes you don’t ask for feedback for and one of them is an audition process. And I think a lot of that—what type are you, she’s too tall, too short, whatever—all of these things are qualities you have as a human being, and they’re things to be celebrated. Even if they don’t necessarily get you a particular job, they are things that are particular to your DNA and will get you the right job. And to think that there’s anything wrong with how you came across at any one moment is unhelpful.
Do you come into rehearsal with a lot of work you’ve done at home, or do you wait and see what everyone else is going to do?
I come in with a really open mind and as prepared as I can be, but that [preparation is] really just going to be investigation of the world, which is going to be about having read it [the script] and seeing whatever that did to me and my ideas of who the person is. And then I’m showing up to see what works. Depending on the amount of time the [rehearsa] process is will depend on the work I’ve done [on my own]. Like if I’m doing I’m Getting My Act Together [and Taking it on the Road] in one week at City Center, then I come in and I know everything. I like preparation because it’s the only thing you can control. And there’s some assurance in that later, if it doesn’t go well, the odds are less than I’m going to beat myself up if I’ve done all the things I personally could have done to prepare.
Do you find your process changes for a long run like you’re doing now in Hamilton
That’s one of the unique things about working in theatre, especially a show that runs a long time. First, you have to figure out how to do something, and then you have to figure out how to keep doing it in a way that’s fresh and interesting. It’s like something that’s adhered to you like tape or a band-aid—the more you pull it off, the less adhesive it is. So those first times you’re experiencing emotion in a show, sometimes those first times can be really scary to do, and also, probably, very powerful to see. And on that journey you get more facility with it, so whatever fear you might have subsides, so you can enjoy the emotion of it, but then, as you move along, there are some surprises and gut-wrenching reactions to things that dull. So then, your journey is to relax into whatever muscle still remembers those things, and allow whatever is present in that particular moment to work. It’s one of those things in a process that you just keep discovering and learning how to do. One of the most important things is not trying to recreate something—that’s the only bad thing about having done something for a long time. Clearly, you’ve had some horrible moments and you can learn from that, but unfortunately what you can’t learn about things gone well is how you got there because it will never work twice.
Is that particularly true when you’re in something so popular and that’s getting so much attention? Do you have moments of, “Oh god, I have to make sure that people aren’t disappointed”? Does it make it harder to have the mental freedom to relax into it?
I think it doesn’t matter what it is or what people think in terms of how much they love the show. It’s just a truism that something that worked one night live does not work the next night, for me—maybe it happens for other actors. It might just be the fact that I’m trying to create something as opposed to experiencing a moment. I can say something at the exact same time, and if I’m going for a laugh, I’m not going to get it. Or if I’m trying to make myself sad. That’s just not how we work, that’s not how I work. I think the strongest people are really okay with not feeling anything. If I come out, and I don’t feel anything, it’s okay. The words are enough, what’s happening here is enough. What I’m learning is that just because something feels great to do [as an actor], it doesn’t mean it’s any more impactful to the audience. That’s one thing you learn when you’re in a Hamilton. That’s the beauty of being supported by such a strong structure. You have nights where you feel like you’re brilliant and nights where you feel like you were a fraud, and people you respect will be equally as moved because the piece is that strong.
The subtext in Hamilton doesn’t function the same way as in a lot of contemporary drama. It’s more of a Greek or Shakespearean structure. Did you have to adjust your process at all because of that?
It’s interesting to think of it that way. I’m not aware of feeling different doing this as an actor than doing Good People or As You Like It. There’s so much that happens subtextually in the way we think and talk. And we do tell you a lot. We have the luxury of that vehicle and being able to say so much of what’s going on in our mind, but there’s still so much that’s going on in our mind. It’s a good question for this piece since for Angelica there’s this one sequence of events that you see happen, and then you see it happen again from a different perspective. As an actor, even when playing it from the perspective of another character, you’re still having the same experience, even though the next time we do it I’m going to tell you what I was thinking. But I’m still having that experience the first time. It’s fascinating and an interesting journey.
Do you think having worked in television and film is helpful with that since those mediums deal in perspective more?
I do feel like as an actor, regardless of my role, everything is from my perspective. It’s frustrating because sometimes the storyteller is not telling it from my perspective. I think I learned from my four years on a soap opera [One Life to Live] that I’m always going for the rooting factor for my character. That’s the strongest on a soap opera since a lot of the time they’re serving a big plot idea—so and so goes blind—they have to sell. But my job is most secure if you’re involved and invested in my character, so I have to fight for my character and pull off your idea. And so, even if you have my character do something horrible or say something that I don’t think makes a lot of sense, I still have to do it in a way where I’m defending my character and you’re going to root for her or at least understand her. That muscle gets really strong in certain mediums, and it doesn’t go away when you’re playing Angelica and you’re madly in love with your sister’s husband. I’m never going to play a villain. Or if I’m Geneva Pine on The Good Wife and my job is to come in and harass the protagonist, on some level it’s Renée, and I’m trying in some way to justify her to the audience.
Being in something that’s so successful, there are all the obligations that come with that. Have you had to think more about your boundaries?
It’s strange the kinds of things I’m not doing or saying no to. It’s kind of bizarre. I was just having lunch with Tommy Kail, our director, and he was helping me decide if I was going to say yes to a project, and since I wasn’t going to say yes, how to do that in a way that is appropriate. We kind of laugh like, “What is our life?” And I think that’s just the nature of “it” moments in your life. I’ve spent a long time in my career watching things like this happen for other people, and one of the most awesome parts of being in this business for a long time is just the proximity to really exciting things happening to really wonderful people. And even just from watching A&E Biographygrowing up my whole life, I was well aware that it’s often not evenly distributed. It’s a lot like the ice bucket challenge [where people were dumping buckets of ice over their head for charity], and that is what success can feel like—one big ice bucket challenge. And there can be frustration in that since I’m well aware that next week, or three months from now, I’ll have all the time in the world, but this week I can’t [do something] even though I want to do both. But there’s something mature and responsible about boundaries and knowing that I’m only human, and knowing that my first job is to be a mother to my kids, a wife to my husband, and loyal to the job that’s the reason why someone might want me to show up and do something else. That light over there is exciting and shiny, but I said I would show up to my show every night, and I have to be rested enough to do that. So those kinds of choices I marry with wanting to miss as little as possible.
Do you feel like it’s harder to get people to respect your boundaries as a woman? It comes up fairly frequently in interviews that women feel they have to say things with a smile.
I’m sure that’s true. In my twenties, I was in a long distance relationship for many years, and he was a great guy and good friend. One of the things that were most valuable about it was that it allowed me to live as a single woman in Los Angeles and have a lot of friends who were guys who were not offended that I wasn’t going to date them because I had a long distance boyfriend. It was a way to say no without any personal offense. I don’t know if it would have been easy to have those friendships if I had not had this thing that had nothing to do with them that was the reason we weren’t hooking up. I tell you that because it’s one good thing about being in Hamilton right now. It’s something people understand—saying no because you’re in Hamilton. It’s probably the best excuse in the world to not do [something].