Actor, Software Developer, All-Around Awesome.
AKA A Digital Native.


Theatre | Selected Credits

Three Sisters

U/S Masha/Musician [Performed]

Studio Theatre, dir. Jackson Gay

The Father


Studio Theatre, dir. David Muse

The Second Shepherd's Play

U/S Gill/Ensemble

Folger Theatre/Folger Consort, dir. Mary Hall Surface

A Midsummer Night's Dream

U/S Snug/Starveling

Folger Theatre, dir. Aaron Posner


U/S Lady/Lychorida/Diana/Ensemble

Folger Theatre / Oregon Shakespeare Festival, dir. Joseph Haj

King John


4615 Theatre, dir. Jordan Friend



4615 Theatre, dir. Stevie Zimmerman

[gay] Cymbeline


Theatre Prometheus, dir. Tracey Erbacher

As You Like It


Maryland Renaissance Festival, dir. Randy Dalmas

Les Liaisons Dangerouses

Cécile/Fight Captain

Spotlighters Theatre, dir. Erin Riley

Much Ado About Nothing


Maryland Renaissance Festival, dir. Randy Dalmas

It's a Circus Out There

Sally Jericho

Capital Fringe Festival / Federal Theatre Project, dir. Kevin Finklestein

Rosencrantz & Guildenstern are Dead

U/S Ophelia/Tragedian

Folger Theatre, dir. Aaron Posner

The Merchant of Venice (in Original Pronunciation)


Baltimore Shakespeare Factory, dir. Tom Delise

A Midsummer Night's Dream


Brave Spirits, dir. Jessica Aimone

The Two Noble Kinsmen


Brave Spirits, dir. Charlene Harris

Sunny and Licorice

Zookeeper/Little Girl

Arts on the Horizon, dir. Kate Debelack

The Arabian Nights (by Mary Zimmerman)


Silver Spring Stage, dir. Jacy D’Aiutolo



Glass Mind Theatre Company, dir. Alexander Scally

Violent Delights: A Shakespearean Brawl-esque Sideshow


Capital Fringe / Off the Quill, dir. Patrick Mullen

Astro Boy and the God of Comics

U/S Astro Boy

Studio Theatre 2nd Stage, dir. Natsu Onoda Power



Maryland Renaissance Festival, dir. John Sadowsky

Training & Workshops

Studio Theatre Acting Conservatory

Principles of Realism, Character & Emotion, Shakespeare I & II, Greek Tragedy, Comedy, Shaw/Ibsen/Chekhov, Voice I, Movement, Classical Voice & Movement, Musical Theatre

Tooth & Claw Combat Arts

Instructors: Casey Kaleba, Matt Wilson Classes & Workshops: Broadsword, Single Sword, Rapier & Dagger, Martial Arts, Bond vs Bourne (theatrical firearms & close-in hand to hand)

The British American Dramatic Academy

Shakespeare, Modern, Voice, Movement

The George Washington University: BA

Special Skills


Original Shakespearean Pronunciation, American Stage Standard, British RP, Cockney, French, Italian, others as needed.

Stage Combat

Unarmed, Knife, Single Sword, Broadsword, Rapier and Dagger, Theatrical Firearms [8mm semi-automatic, 9mm semi- & full-auto, shotgun, & pistol]


Competitive Gymnastics, Dance [Contemporary/Lyrical, Partner, Hip Hop, Street Jazz], Singer [Soprano w/ Belt, Range: G3 - C#6], Improv, Archery (Traditional Longbow), Beginning Equestrian, Software Developer, Comfortable with Technical Terminology (Computers, Engineering, Medicine), DC Driver’s license (manual/automatic)

With any part you play, there has to be a certain amount of yourself in it
There has to be, otherwise it's just not acting.
It's lying.

Photography & Reels

About Jacqueline

The Latest

King John with 4615 Theatre Company

This summer, Jacqueline joins a truly fantastic cast as Constance in King John, performing in repertory of two plays spanning two decades of family battles over the field and the dinner table of English history.

In this thrilling and timely epic, The Bard introduces us to the same family, roughly two decades after the events of The Lion in Winter. With his father and brothers gone, John finally holds the throne, and Eleanor counsels her son closely. However, when an old adversary surfaces to threaten John’s claim, a war breaks out, and thousands of lives thrown into the maelstrom. With shocking twists, sharp humor, and richly drawn characters, Shakespeare’s play is an eternally relevant portrait of war, as seen from above and below.

King John (in Repertory with Lion in Winter), 4615 Theatre Company at The Highwood Theatre, 914 Silver Spring Ave, Silver Spring, MD. July 14 - August 5. Featuring Seth Rosenke, Jack Russ, Anna DiGiovanni, James Allen Kerr, Nick Torres, Matt Meyers, Jacqueline Chenault, Will Anderson, John Burghardt, Brendan McMahon, Peg Nichols, and Ned Read. Tickets at 4615theatre.com



New York Born, Seattle Raised, Jacqueline has played roles from Shakespeare to today - and back again.

She is a graduate of the Studio Theatre Acting Conservatory in Washington, DC and currently is an Associate Teacher for the Conservatory's Young Actors Ensemble. Other training includes the British American Dramatic Academy, Tooth and Claw Combat Arts, and the George Washington University.

When she's not on stage, Jacqueline is a freelance software developer and graphic designer. For over 15 years, she was a competitive gymnast and she still practices - though admittedly with less of an eye to competition and more focus on skills she might use on stage.

From the Critics...

Jacqueline Chenault is heartbreaking as Cecile, a woman who has been thrown away. Much thought went into this performance, it’s extremely layered, showing an impressive range of reaction to sexual assault.

The Bad Oracle

A period melodrama is nothing without its ingénues, and while dainty Cecile (Jacqueline Chenault) and Danceny (Jeffrey L. Springtree Gangwisch) have their idyllic entanglement— witnessed only ever in the inter-scenic dance they share— it is their relationship with others in the production that define their performances... Chenault is a vibrant mover, as displayed numerous times in the inter-scenic dance routines as well as during a particular encounter with Valmont. Keeping her emotional delivery heightened, Chenault traverses a great deal of varying pathos throughout the performance, which entices the audience to commiserate in her various plights.


The most compelling performances are given when the play steps back from the fun of the big top and into the cold corporate world. Jacqueline Chenault as Sally Jericho, the shy elephant trainer who will do anything, even yell at the new CEO to take care of her “babies,” is the heartfelt center of the play. When Jericho makes a grand sacrifice to save the circus she loves, you see that it is only the strength and devotion of the circus performers that will allow Bringling Bros. to thrive.

DC Theatre Scene

Stay Hungry. Stay Foolish.


Contact Info

Use the form to contact Jacqueline, or one of the methods linked below.

When she's not acting, Jacqueline is a software developer and her portfolio can be viewed at adigitalnative.com.