Morristown Performer’s Story Shines Through Versatility & Coaching

By: Tommy Hughes 


A singer.
An actor.

A writer. 

A coach.  


The entertainment business, on all fronts, involves taking risks.  While the highest of highs can be achieved, even if one enters with a sense of uncertainty, the real reward in being a part of the industry is for the love of the craft.  


Jill Abramovitz has always been a storyteller. Always in touch with her emotions. From beginnings through dance classes on South Street to musical theater courses at Worth-Tyrell Studios School of Performing Arts. Walking through the stage door is something that she never gets tired of. Yet it was Bernadette Peters in Song & Dance that provided her with a sense that theater helps people experience things in mannerisms that allow one to get in touch with themselves. 


“Everyone in that theater was moved by (Bernadette Peters), and we were all moved together. It created a community for two hours,” Abramovitz said. 


Today, Abramovitz has made her presence known across the stage and the screen.  Her work and abilities highlight versatility. A trait that brings out the very best in performers. 


“When the viewer looks at Marvelous Mrs. Maisel, it almost feels theatrical.  It’s a bit heightened. When the viewer looks at something like Blue Bloods, it’s much smaller. It’s much less heightened and stylized…it’s just a question of feeling the tone of really going to that place in the performer’s mind. Your voice only has to carry to the person next to you when you’re on film. On stage, the performance has to be rooted in the same truth of the circumstances. The performer has to find the truth no matter what, but then, the performer has to find the different expressions through the leaves and the branches of the flowers in how that truth makes it across,” Abramovitz shares. 


The entertainment business, on all fronts, involves taking risks.  While the highest of highs can be achieved, Abramovitz believes that even with uncertainty, the real reward is being a part of the industry for the love of the craft. It was this mentality that led her to the very first reading of Eddie Perfect’s adaptation of Beetlejuice. Brought in from the ground up, she took part in Beetlejuice’s three readings before being cast as Juno. Abramovitz cites her Beetlejuice journey as a career-best moment, with it’s run at the Winter Garden Theater an experience unlike anything else.  From the intimate setting, to the closeness of the audience with no seat being too far away. 

Every theater has it’s quirks, but for Abramovitz, being on stage at the Winter Garden Theater, the place where she saw Andrew Lloyd Webber’s Cats as an adolescent in that show’s original Broadway run, it served as a reminder that dreams can indeed become reality.  

Abramovitz loves to develop new work. As a writer, she sights developing new characters as “so much fun.” It was the encouragement of her now husband to sign up for the BMI Lehman Engel Musical Theatre Workshop. What lessons did she take with her as she continues to write today? Questions such as what would serve as the purpose in the opening of said musical’s Act II? The architecture of crafting a story is similar to the structure of a musical.  The process of how a musical is talked into existence.  Anyone can write a song about going to their nearby store for an H2 blocker, but what stakes are involved? 


“An individual doesn’t start writing until they know what they’re writing until they understand the outline, characters, and conflicts. Once the writer has talked, and talked, and talked, and hashed their idea out, it is really like acting. What is it really like to be a specific character? Once the writer knows that, then they’ve got their hook, format, its then that the writer really knows the story’s point of view. Expressing what is trying to be accomplished,” Abramovitz says.

The best piece of advice she received over the course of her career?

“Be great to work with. Have a great attitude and come into work with a great attitude. People want to work with people who make them feel good. Be happy to be at rehearsal, be happy to do your job, be happy to be there, be yourself, and then people will want to hire you.
No one will be a better version of themselves but them,” Abramovitz shares.


She now hopes to pass this advice along to aspiring performers through coaching. An equally satisfying endeavor.  


“It is incredible to help people unlock pathways to connections, material, comedy, I love it!”

Abramovitz’s journey serves as a reminder that while every story is unique, an individual is a vessel, for the music, for the story. As the story passes through, the individual adds their own flavor to it. It is a way of connecting to the people who came before them and passing that along to other members of the audience, hopefully providing them with their own transformative experience, as she herself had watching Bernadette Peters in Song & Dance


For more information on Abramovitz, please visit


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