A Bit About Me...
Rosie Callaghan has been taking the Canadian theatre scene by storm, and has no intention of stopping. She is a proud graduate of both Dawson College’s Professional Theatre Program (Valedictorian) and Randolph College for the Performing Arts. Upon graduating, she booked her first professional acting role as a Peek-a-Boo Girl and Clarinet Player in Centaur Theatre’s “Last Night at The Gayety”, written by legendary Montreal musical comedy duo Bowser and Blue. Since then, she has worked consistently in both Montreal and Toronto, jumping back and forth as need be. Rosie has been part of the development of many new works, and considers it a specialty within her craft. Some development credits include The Hockey Sweater (Segal Centre), Momento Mori, A Curious Life, and The Woods Witch (Playwrights Workshop Montreal) and as part of the Fringe hit “Captain Aurora”. Notable credits include “Uncovered: The Music of ABBA” (Musical Stage CO.), “April Fools" (Segal Centre), “It Shoulda Been You” (Segal Centre/DWYT), “Frankenstein” (Segal/Kidoons/Geordie Theatre), “Robin Hood: The Great Escape” (Festival Antigonish), 2 National Tours, and she just finished her first season with the Gros Morne Theatre Festival in Cow Head, Newfoundland.
Besides theatre, Rosie also has had great success in commercial voice over, having done spots for Via Rail, Air Canada, Lotto Quebec, Spotify, Desjardins, and Circle K, among many others.
Along with her professional roles, Rosie also loves to host, having produced several cabarets of her own, and even lending her hand at hosting “Broadway Café”, The Segal Centre’s Musical Theatre open mic night. Rosie has also received numerous awards for her work, including two Broadway World Awards, NATS 2015 Most Promising and Best in Class, and an Alternative Film Fest award. She was also selected to be part of Eclipse Theatre's inaugural Emerging Artist Showcase. She is also one of the recipients of the 2021-2022 Banks Prize.
"I also greatly enjoyed Rosie Callaghan (Olympia) who I felt gave a scintillating performance as a young woman struggling with a personal civil war of self-identification versus the need to be loved." Randall Willis, Mooney on Theatre
"Rosie Callaghan, turns her small role of Anna into something unforgettable. She has one of the nicest voices I’ve ever heard, and her ability to project and articulate every word while singing is extraordinary." - Abby Elizabeth, Curtains Up
THE ADDAMS FAMILY
"I thought Rosie Callaghan as Alice Beineke had the clearest, strongest voice, and I’m glad she had a chance to show it off close to the end of Act 1." Lauren Stein, Mooney on Theatre
IT SHOULDA BEEN YOU
"Rosie Callaghan with her ethereal vocal chops here stands out as Jenny Steinberg, the emotional heart of the comedy. Her powerhouse but vulnerable rendition of “Beautiful” grounds It Should Been You with meaning beneath the madness. " -Camila Fitzgibbon, Montreal Theatre Hub
"The heart and soul of “Shoulda” belongs to Rosie Callaghan as stoical Jenny, a frequent target of her mother’s barbs. [...] Callaghan’s fluid, heart-felt vocals are absolutely flawless, bringing tears to our eyes. Jenny’s scenes with Marty, played by adorable Mikey Samra, are magical." Stephanie Ein, Mobtreal
"But the star of the show, Rosie Callaghan playing Jenny Steinberg, totally blew me away, and indeed lived up to her title as the star. She’s a powerhouse, both as an actor and singer, and her two big numbers were the highlights of the show. Her emotional range is huge, covering Jenny’s insecurities about her body image and her explosion of confidence when she refuses to be walked on." Danielle Eyer, Scripteditty
IN THIS HOUSE
“Callaghan's Remi is manic, loud, and honest, and she takes advantage of lengthy monologues and serious subject matter to hold audiences at attention. […]It certainly doesn't hurt that this cast were all more than capable of pulling of the accompaniment while in character; special recognition to both Callaghan and Atherly, whose rich voices were a perfect compliment to each other as they bounced around the church-turned-theatre space's high ceilings.” Isabella Perrone, BroadwayWorld