26-year old Australian actress-stage artist Jillian Geurts [1][2][3][4][5][6][7][8][9] (Brief Breasts) in The Algebra of Need (2016)

Q: Explain one creative choice you took on set?

Jillian: In 2016 I worked on a film called “The Algebra of Need” (which just won a Jury Award at the Buffalo International Film Festival). There’s a very difficult scene towards the end of the film where another character has to dress me. I had to deliver a very strange, sexually graphic monologue and then the direction was “he helps you get dressed” or “you get dressed”…something like that. I was so exhausted and embarrassed by the confession of the monologue, my body went limp. I couldn’t help at all with the dressing and I just lay there while my co-actor tried to dress me (which is pretty hard with no cooperation). But I feel that this obstacle, my inability to physically participate, created such an interesting tension.. I didn’t want to be touched after the confession, but I also wouldn’t help myself. The result is this strange puppet dance, tense, full of resentment and shame, a disgust – and my co-actor helplessly helping me (and getting a little frustrated himself). It was so uncomfortable but I didn’t let myself out of it…. I think that was the right choice.

Mega.Co.Nz

Jillian Geurts began her career as a physical theatre performer with acclaimed Australian company Zen Zen Zo. Trained in the Viewpoints, the Suzuki Method and Butoh Dance Theatre, Jillian toured internationally with the Butoh-inspired work Zeitgeist. Other Australian theatre credits include Fraulein Schneider in Zen Zen Zo’s Cabaret (Matilda Award for Best Musical Production 2011) and Alice in Closer for Underground Productions (Brisbane and Melbourne Seasons).

In 2012, Jillian was accepted into The American Academy of Dramatic Arts in New York City, where she received the Charles Jehlinger Award for Excellence in Acting. During her time with The Academy’s Repertory Company, she originated the role of Lady Anne in Douglas Carter Beane’s Hood: The Musical and worked closely with Tony-Winner Frank Langella and acclaimed director Jerry Zaks.

Since graduating, Jillian has worked across the board in theatre, film and television. In 2015, Jillian began her long running association with The Scranton Shakespeare Festival in Pennsylvania. Her roles have included Juliet in Romeo and Juliet, Isabella in Measure for Measure, Geminae in A Funny thing Happened… and Polina in A Tale for Winter, as well as reprising her role in the regional premiere of Hood: The Musical, again directed by Tony-nominee Douglas Carter Beane. Her New York City theatre credits include Irina in Three Sisters (Columbia Stages), Merope in Wrecks (Underling Productions) and Miranda in The Collector (59E59). Jillian is also the co-founder of The New Natives Theatre Company, with whom she has produced and acted in two sold-out world premieres, The First Man and Camel.

Jillian has been featured on US television twice, notably in the lead role for Investigation Discovery’s The Mind of a Murderer. She works closely with director David Williams, and their first film together, The Algebra of Need, was awarded a Jury Award for Best Feature at the 2017 Buffalo International Film Festival.

In late 2017 Jillian began work on Hell House II: The Abbadon Hotel, directed by Stephen Cognetti and playing the lead role of Jessica Fox. She also began work on The New Natives third theatrical production in New York City.