Marcia Haufrecht

Marcia Haufrecht (born January 3, 1937[1] as Marcia Haufreucht)[2] is an American actress, playwright and director, as well as a noted acting teacher and coach.[3] A life member of The Actors Studio,[4] and a longtime member of The Ensemble Studio Theatre,[5] she is also the founder and artistic director of the Off-Off-Broadway company (and venue), The Common Basis Theatre (originally The Common Ground Theatre).[6][7]

Marcia Haufrecht
Marcia Haufreucht

(1937-01-03) January 3, 1937
Other namesMarcia Howard (stage name from 1955 through 1963)
OccupationActor, acting teacher, playwright, director
Years active1954–present

Early life

Haufrecht was the first of three children born to Herbert and Judith Haufreucht,[lower-alpha 1] the former a noted pianist, composer, folklorist and editor.[9][10] A Manahattan native, born and bred, Ms. Haufrecht attended Performing Arts High School, graduating in 1954 as a dancer.



High school diploma notwithstanding, Broadway was scarcely clamoring for "a barefoot, modern dancer" (Haufrecht's own words),[11] much less for one of Ms. Haufrecht's diminutive stature and limited experience.[12] That being said, she made her Off-Broadway debut as an actress that September at the Cherry Lane Theatre, with a small part in the Studio 12 [lower-alpha 2] limited-run revival of Jean-Paul Sartre's The Flies.[16] Moreover, undersized or not, Haufrecht nonetheless secured both her Broadway and her professional dancing debuts just two months later, becoming one of the final group of dancers engaged for the new musical, Plain and Fancy.[17] For this, she had the show's choreographer, Helen Tamiris, to thank; a former colleague of Haufrecht's father, Tamiris fought hard for her inclusion in the show.[11]

While deferring to their choreographer on this particular casting decision, the show's producers stood firm on the matter of billing. If they could not lengthen the dancer, nor her résumé, then they could and would shorten and Americanize her name; by the time of the show's opening in January 1955, Haufrecht had, for public consumption, become Howard, and so she would remain for at least six years.[18]

In the summer of 1955, Haufrecht's Broadway debut was followed by a national tour with Can-Can,[19][20] owing in large part – as she would confide in a 2012 interview – to the casting call's fortuitous timing:

I think the only reason they hired me was because it was in the dead of summer, and the only people that showed up to the audition were strippers; they weren't really dancers. So they had to hire me; I was the only dancer that showed up.[12]

Nonetheless, well before her 20th birthday, Haufrecht had already turned her attention to acting, as she told The Montreal Gazette in 1969, "because I hated being part of the background. I felt so superfluous. And I felt I had something to say... It was my ego."[21] Speaking in 2012, Haufrecht concedes that her early career change, however rewarding in the long run, was basically a pragmatic choice, born of necessity:

After I was done with Can-Can, I auditioned for a lot of shows, and I couldn't get anything... One day, I auditioned - I don't know if it was Damn Yankees - [but] it was a Bob Fosse show. And I'm down to the last fifteen and he needed twelve, or something like that. He pulls me aside and says, "I'd love to use you, Marcia. You're a wonderful dancer, you really are. But you're too short." I said to myself, "That's it; I'm outta here. I'm not dancing anymore." [12]


Within a year or so, Haufrecht was working with Nola Chilton, an influential New York-based acting teacher and director.[lower-alpha 3] Haufrecht studied with Chilton for approximately four years, culminating in her participation in an Off-Broadway revival of Sidney Kingsley's Dead End, staged by Chilton and boasting a 45-member cast; aside from Haufrecht, it featured such promising unknowns as Ken Kercheval, Jerry Ragni, 'Dusty' Hoffman, and Ron Leibman.[21][34] Despite an extremely favorable review from Village Voice critic Michael Smith, praising both performance (including Haufrecht's "spectacularly destroyed whore") and production,[35] dissatisfaction with her own contribution, and with the quality of her work in general as well as her perceived lack of progress, led Haufrecht to seriously contemplate giving up acting altogether. Quickly dissuaded by her colleagues, Leibman in particular, Haufrecht followed the latter's advice and joined him at The Actors Studio to meet with Studio director Lee Strasberg. Allowed to sit in on sessions on an interim basis, Haufrecht eventually earned her full membership via audition.[36]

A member of the Studio since at least 1964,[37] Haufrecht is now a seasoned veteran of stage and screen, in roles ranging from White Cargo's exotic femme fatale, Tondeleyo [21] (her final appearance as Marcia Howard),[18][38] to Richard III's eloquent nemesis, Queen Elizabeth, opposite Al Pacino (in the first of Pacino's three Richard's).[39][40] She has performed at Lincoln Center,[41] La MaMa,[19] The Public Theater,[42] with The Ensemble Studio Theatre,[43][44] Center Stage in Baltimore,[19] at the Adelphi Festival Theatre in Garden City,[45] The Open Stage in Sarasota,[46] in Montreal at Place des Arts,[47] and in Berlin at the Friends of the Opera Theatre.[48] Haufrecht's film appearances have, in recent years, included The Producers, The Night Listener, Anamorph, and Win Win; on TV, she has been seen in The Sopranos, as well as Law & Order, Law and Order: SVU, and Law and Order: Criminal Intent.

In April 2001, more than 20 years after its first and only production, Tennessee Williams' Will Mr. Merriweather Return from Memphis? received its New York premiere, courtesy of Haufrecht's Common Basis Theatre, with the artistic director herself heading the cast. As Daily News critic Howard Kissel noted, "The play's heady combination of black humor and poetry is best handled by Marcia Haufrecht, as the woman pining for her former boarder."[49] Ken Jaworski of Off-Off-Broadway Review added:

As Louise McBride, Marcia Haufrecht was exquisite: a frail woman struggling to appear strong, an aging southern belle masking loneliness behind false laughter. "Even in a dream one can suffer," Louise claims. Haufrecht embodied the premise, projecting a drowsy, fatigued lonesomeness with each action and word.[50]

The previous month, Haufrecht had garnered even stronger praise from Off-Off-Broadway Review's Doug DeVita as Common Basis staged another, less heralded premiere, Grace Cavalieri's Pinecrest Rest Haven:[51]

A frail-looking woman, her white hair tied up in a simple purple ribbon, enters a peach-and-white nursing-home waiting room and plaintively asks if anyone has seen her husband. The question, asked with a heartbreaking, bewildered innocence by the haunting Marcia Haufrecht, is a startlingly lucid depiction of the loss of clarity that can come with advanced age... the one thing this production had going for it was the presence of Haufrecht, who effortlessly rose above the obvious material and gave a luminous, moving performance of concise truth... As the late, great Madeline Kahn once said about her own work: "I have appeared in crap, but I have never treated it as such. Never." Haufrecht obviously goes by that same standard, and her performance displayed a level of professionalism that most actors would do well to emulate.[52]


From a playwright whose initial motivation had simply been to provide – at a director/colleague's request – an interesting acting vehicle for herself,[53] Haufrecht's plays have been produced in New York City by Common Basis Theatre,[54] The Ensemble Studio Theatre,[55][56][57][58] and The Actors Studio,[59] and, in upstate New York, by Performing Arts of Woodstock.[60] Around the country, her work has been performed in Texas,[61] Florida,[46] in San Francisco,[19] and, in Southern California, by Company of Angels [62] and CSU Fullerton.[19] Abroad, her plays have been staged in New Zealand,[63] Australia at La Mama in Melbourne,[64] and at the Kultur im Gugg in Austria.[19]


As a director, Haufrecht has staged both original works and revivals at The Ensemble Studio Theatre,[65] The Actors Studio,[59] The Barrow Street Theatre,[66] The Common Basis Theatre,[54][67] and in Australia,[68] Portugal,[69] and Austria .[19]


A student of Lee Strasberg from the early 1960s until his death, Haufrecht taught at the Lee Strasberg Theatre Institute for five years; later, she worked for two years as an adjunct professor in Columbia University's graduate film program. Haufrecht has taught and coached privately for over thirty years; her students include Ellen Barkin,[70] Alec Baldwin,[71] Uma Thurman,[19] Janine Turner,[3] John Leguizamo,[19] Debi Mazar,[72] Loren Dean,[19] David Duchovny,[3] Ian Buchanan,[73] and Harvey Keitel.[19] She taught for several years in Australia,[74][75] and in Austria;[19] more recently, she has taught, and continues to teach, in Lisbon, Portugal, since the mid-1990s.[76][77][78][79] In New York, Haufrecht was on the faculty of The Actors Studio MFA program at The New School for Social Research (where Haufrecht would remain when the MFA program departed for Pace University in 2006,[19] staying there until her retirement in 2011).[80]

Stage and screen credits

Theatre (partial listing)

These are acting credits except where otherwise indicated.

Opened Title Written by Theater Company (and/or venue) Directed by Role
The FliesEuripidesCherry Lane TheatreDenis VaughanThird Fury
Plain and FancyMusic - Albert Hague / Lyrics - Arnold Horwitt / Book - Joseph Stein, Will GlickmanThe Mark Hellinger TheatreMorton DaCostaDancer (as Marcia Howard)
Can-CanMusic & lyrics - Cole Porter / book - Abe BurrowsNational TourAbe BurrowsDancer (as Marcia Howard)
Dead EndSidney KingsleyOrphans Unlimited [lower-alpha 4] / 41st Street Theatre (on Broadway south of Times Square)Nola ChiltonFrancie (as Marcia Howard)
White CargoLeon GordonPlayers Theatre (in Greenwich Village)Sam RosenTondeleyo (as Marcia Howard)
The Three SistersAnton ChekhovThe Actors Studio Theatre / Morosco TheatreLee StrasbergCarnival person
GalileoBertolt BrechtTheatre of the Living Arts (in Philadelphia)Andre GregoryStreet singer
Tom PainePaul FosterLa MaMaTom O'HorganPrincipal
Having Fun In the BathroomLeonard MelfiLa MAMaEdward SetrakianFelicia
Our Bed is GreenAviva RavelPlace des ArtsHoward RyshpanRivka
Once Again and Yet Again / Night / EveMarcia HaufrechtPerforming Arts of WoodstockNAWritten by
Richard IIIWilliam ShakespeareTheater Company of BostonNAQueen Elizabeth (Standby for Linda Selman)
The Independence of Striva KowardskyMarcia HaufrechtPerforming Arts of WoodstockNAWritten by
Mert and PhilAnne BurrNew York Shakespeare Festival / Vivian Beaumont TheaterJoseph PappMert, Lucille (standby for Estelle Parsons and Rhoda Gemignani)
Eulogy for a Small Time ThiefMiguel PiñeroEnsemble Studio TheatreJack GelberTina
Curse of the Starving ClassSam ShepardNew York Shakespeare Festival / Public TheaterRobert WoodruffElla (understudy for Olympia Dukakis)
I Don't Know Where You're Coming From At AllShirley LauroEnsemble Studio TheatreNAMiss Sarah Berlin
WelfareMarcia HaufrechtEnsemble Studio TheatreAnthony McKayWritten by
The Hunchback of Notre DameNANew York Shakespeare Festival / Public TheaterNAMme. Muniere
On Bliss Street in SunnysideMarcia HaufrechtThe Actors StudioNAAlegra Katz (also Written by)
Accumulated BaggageMarcia HaufrechtAmerican Theatre of Actors (ATA in New York City)Sharon ChattenNA (also Written by)
The House of Blue LeavesJohn GuareAdelphi Festival Theater (in Garden City)Bunny
On Bliss Street in SunnysideMarcia HaufrechtSiesta Keys Actors Theatre (in Sarasota)NAWritten by
Bliss StreetMarcia HaufrechtThe Open Stage (in Sarasota)William ShroderAlegra Katz (also Written by)
Full Moon & High Tide in the Ladies RoomMarcia HaufrechtCompany of Angels / West End Stage (in Los Angeles)Carol RiesWritten by
WelfareMarcia HaufrechtMinority Actors Guild / South Dallas Cultural CenterNAWritten by
An ExchangeMarcia HaufrechtLa Mama (Melbourne) / La Mama TheatreMarcia HaufrechtWritten by & Directed by
Full Moon & High Tide in the Ladies RoomMarcia HaufrechtCreative Voices Theatre Company / Creative Place Theatre (in New York City)Diane CossaWritten by
Promethea Bound and Sisyphus TooMarcia HaufrechtLa Mama (Melbourne) / Napier Street Theatre (in New Zealand)Marcia HaufrechtWritten by & Directed by
The House of Nancy DunnMusic - Steve Weisberg / Andy Craft / Howard PflanzerLa MaMaJohn James HickeyGloria Doria
Full Moon & High Tide in the Ladies RoomMarcia HaufrechtCommon Basis TheatreMarcia HaufrechtWritten by & Directed by
Pinecrest Rest HavenGrace CavalieriCommon Basis TheatreAmy ColemanMrs. P
Will Mr. Merriweather Return from Memphis?Tennessee WilliamsCommon Basis TheatreDan IsaacLouise McBride
The Daughters of EveMark BorkowskiBarrow Street TheatreMarcia HaufrechtDirected by
The Daughters of EveMark BorkowskiCherry Lane Studio TheatreMarcia HaufrechtDirected by


Air Date Title Role
No Place Like Home (TV movie)Hilda
Law & Order - "DWB"Linda Coffey
The Sopranos - "46 Long"Fanny
Law & Order - "Amends"Brenda Jenks
The Sopranos - "Proshai, Livushka"Fanny
Law & Order: SVU - "Parasites"Mrs. Varella
Law & Order: Criminal Intent - "Cherry Red"Erin Finoff
Law & Order - "Doped"Eileen (as Marica Haufrecht)


Release Date Title Role
The Three SistersNeighbor
Dog Day AfternoonNeighbor
Night-FlowersWoman at Wrestling Match
Mortal SinsElevator Passenger
The DaytrippersMolly
New York Socialite (short subject)Guru
Three Long YearsJude's Mother
Mind the GapSady
Marcus' Story (short subject)Janet Silverman
The ProducersMrs. Trevors
The Night ListenerPant-Suited Woman (as Marcia Halfrecht)
The UngodlyKlara
AnamorphDiner Waitress
Two Star State of Mind (video)Nancy Willoughby
The Ride (short subject)Nancy
Win WinGina Flaherty
Subterranean Love (short subject)Accordion Lady
All Is BrightBartender #1
DianeCarol Rymanowski


  1. Judging from Google News Archive searches for each spelling, the Haufreucht family as a whole seems to have dropped the second 'u' as of the mid-1940s. The latest article featuring the original spelling occurs in 1946.[8]
  2. Formerly Theatre 12, and prior to that, the 12th Street Players,[13][14] Studio 12's chief components, director Denis Vaughan and set designer Bert Greene, would go on to greater fame as cookbook authors and owners of an upscale Amagansett eatery catering to a celebrity clientele.[15]
  3. As an actor, Chilton had been directed by future Actors Studio head Lee Strasberg;[22] she herself would go on to direct such actors as Richard Ward,[23] Jack Gilford, Zero Mostel,[24] Joseph Chaikin,[25] Jack Betts, and Jean Shepherd.[26][27] As a teacher, Chilton instructed Chaikin and several other future founding members of the experimental Open Theatre, created by them in early 1963, less than a year after Chilton's emigration to Israel,[28] where she has worked and prospered for the nearly half century since, becoming a storied and seminal figure in Israeli arts and letters.[29][30][31][32][33]
  4. The name of this ad hoc 'company' would appear to be an inside joke by director Chilton, at the expense of Equity Library Theatre, under whose auspices this production had been prepared and was to have been presented, presumably at its customary venue, the Lenox Hill Playhouse. Instead, at the eleventh hour, ELT's managing director Lyle Dye Jr. pulled the plug, calling the production "not quite up to standard," even professing concern for the actors' - and ELT's - "reputations."[34] Speaking nine years later, Haufrecht maintained that ELT simply found the show too violent.[21] In any event, Chilton's rapidly implemented response - a sit-in by the director and her entire, suddenly 'orphaned' 45-member cast in front of the Lenox Hill Playhouse - led Actors Equity to override ELT, forcing the latter to provide an alternate venue.[34] Chilton and her cast were roundly applauded for their efforts in a review published in the Village Voice (which also made a point of contrasting Chilton's production favorably with the sort of showcase fare typically offered by ELT).[35]


  1. United States Public Records: Person Details for Marcia Haufrecht. Family Search. Document dated 19 May 2008. Retrieved 2015-07-07.
  2. "1940 U.S. Census form - Image (Line no. 6)". FamilySearch. Document dated April 4, 1940. Retrieved 2013-06-01.
  3. James, Gregory; Glenn, Peter (1998). The National Casting Guide. New York: Peter Glenn Publications. p. 24. ISBN 0-87314-154-7.
  4. Garfield, David (1980). "Appendix: Life Members of The Actors Studio as of January 1980". A Player's Place: The Story of The Actors Studio. New York: MacMillan Publishing Co., Inc. p. 278. ISBN 0-02-542650-8.
  5. "Ensemble Studio Theatre Members". Ensemble Studio Theatre. Retrieved 2013-01-01.
  6. Wrath, Andres J. "Nothing Common About This Theatre: An interview with Robert Haufrecht" The Off-Off-Broadway Review. Volume 6, Number 5. September 30, 1999. Retrieved 2013-01-02.
  7. Genzlinger, Neil (May 5, 2001). "Gentleman Callers Need Not Apply". The New York Times. p. 10. Retrieved June 3, 2018.
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  10. Koznin, Allan. "Herbert Haufrecht, 88, Pianist, Composer, Folklorist and Editor". The New York Times. July 3, 1998. Retrieved 2013-01-01.
  11. Marcia Haufrecht interview: Broadway debut on YouTube. The Sissy Gamache Show. Aired September 7, 2012. Retrieved 2013-01-05
  12. Marcia Haufrecht interview: From dance to acting on YouTube. The Sissy Gamache Show. Aired September 7, 2012. Retrieved 2013-01-05.
  13. "Theatre 12 Lists Sartre Play ". The New York Times. August 10, 1954. Retrieved 2013-01-08.
  14. Andy Warhol Pre-Pop: Studio 12. Retrieved 2013-01-08.
  15. Brownstone, Cecily. "Several New Books Have Appeared On the Scene: Gossipy". The Washington Observer-Reporter. December 17, 1974. Retrieved 2013-01-08.
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  17. Calta, Louis (November 20, 1954). "Play by Reeves Arrives Tonight – 'Wedding Breakfast' at 48th St. Theatre Is Described as a 'Comedy-Drama'". The New York Times. p. 10. Retrieved June 3, 2018.
  18. Gelb, Arthur. "Theatre: 'White Cargo'; Modernized 1923 Play Opens Off Broadway". The New York Times. December 30, 1960. Retrieved 2013-01-04.
  19. Faculty: Marcia Haufrecht Archived 2011-08-11 at the Wayback Machine. The New School. Retrieved 2013-01-04.
  20. Marcia Howard: Stage and Film Work. OVRTUR: the musicals of new york, london and beyond. Retrieved 2013-01-04.
  21. Stephens, Anna. "There's Madness in Her Method". The Montreal Gazette. June 6, 1969. Retrieved 2013-01-01.
  22. Opening Night Credits for 'Skipper Next to God'. Internet Broadway Database. Retrieved 2013-01-08.
  23. Tallmer, Jerry. "Enter One Playwright, Pursued by Scenery; Theatre: Saroyan's 'Highlands'". October 22, 1958. Retrieved 2013-01-08.
  24. Calta, Louis (March 15, 1955). "Intimate Musical Will Bow Tonight – Once Over Lightly,' a New Revue, to Feature Mostel, Gilford and Sono Osato". The New York Times. p. 33. Retrieved June 2, 2018.
  25. Plunka, Gene A. (1999). "Van Itallie and the Early Open Theater". Jean Claude Van Itallie and the Off Broadway Theater. Cranbury, NJ: Associated University Presses. p. 63. ISBN 0-87413-664-4.
  26. "Off-Broadway Theatre". The Village Voice. January 19, 1961. Retrieved 2013-01-07.
  27. Taubman, Howard. "The Theatre: Faust Legend Retold; 'Banquet for the Moon' Opens at the Marquee; Jean Shepherd in Play by John Cromwell". The New York Times. January 20, 1961. Retrieved 2013-01-07.
  28. Gardner, Bonnie Milne (1985). The World Encyclopedia of Contemporary Theatre: The Americas. Lewiston, NY: Edwin Mellen Press. p. 397. ISBN 0-415-05929-1.
  29. Doudai, Naomi. "Deft Director Saves the Show". The Jerusalem Post. November 21, 1991. Retrieved 2013-01-07.
  30. Cody, Gabrielle H.; Sprinchorn, editors, Evert (2007). "Avant-Garde Drama". The Columbia encyclopedia of modern drama: A-L. New York: Columbia University Press. p. 96. ISBN 0231144229.CS1 maint: extra text: authors list (link)
  31. Patterson, David; Berger, Alan L.; Cargas, Sarita, editors (2002). "Sobol, Joshua (1939- )". Encyclopedia of Holocaust Literature. Westport, CT: Oryx Press. p. 189. ISBN 1-57356-257-2.CS1 maint: extra text: authors list (link)
  32. Abramson, Glenda (1998). "Zionism on the stage: years of protest". Drama and Ideology in Modern Israel. Cambridge, UK: Cambridge University Press. p. 49. ISBN 0-521-44159-5.
  33. "Top 10 Things to Do: 14th annual Holon International Women's Festival". The Jerusalem Post. February 25, 2010. "Highlights include a salute to theater pioneer Nola Chilton." Retrieved 2013-01-07.
  34. Associated Press: "Play Cast Wins Battle". 'The 'Tri-City Herald. October 20, 1960. Retrieved 2013-01-07.
  35. Smith, Michael. "Theatre: Dead End". The Village Voice. November 3, 1960. Retrieved 2013-01-10.
  36. Marcia Haufrecht interview: Nola Chilton, "Dead End" and Lee on YouTube. The Sissy Gamache Show. Aired September 7, 2012. Retrieved 2013-01-07
  37. Cast of 1964 Actors Studio production of 'Three Sisters'. Internet Broadway Database. Retrieved 2013-01-03.
  38. Schmidt, Sandra. "Theatre: White Cargo". The Village Voice. January 5, 1961. Retrieved 2013-01-05.
  39. Maria Haufrecht resume: Regional Archived 2012-06-18 at the Wayback Machine. Retrieved 2013-01-04.
  40. Gussow, Mel. "Theater: 'Richard III'; Production in Boston Stars Al Pacino; The Cast". The New York Times. February 13, 1973.
  41. 'Mert & Phil' credits. Internet Broadway Database. Retrieved 2013-01-03
  42. Marcia Haufrecht (as Marsha Haufrecht). Internet Off-Broadway Database. Retrieved 2013-01-03.
  43. Herbert, Ian; Baxter, Christine; Finley, Robert E. (1981). Who's who in the theatre: a biographical record of the contemporary stage, Volume 2. Detroit, MI: Gale Research. p. 146. ISBN 0-810-30234-9.
  44. Lauro, Shirley (1982) [1979]. I Don't Know Where You're Coming From At All: A One-Act Play. New York, NY: Samuel French, Inc. p. 3. ISBN 0-573-62228-0.
  45. Klein, Alvin (July 18, 1982). "A Scary and Funny 'Blue Leaves". The New York Times. p. 15. Retrieved June 3, 2018.
  46. "SKAT Honors Playwright"
  47. Kelly, Norma. "'Kibbutz Kitchen Sink' Moves Into Place Des Arts". The Montreal Gazette. June 6, 1969. Retrieved 2013-01-04.
  48. "Travelling On Plastic Chairs Into The Past" Archived 2010-07-10 at the Wayback Machine. Berliner Morgenpost. April 6, 1997. Retrieved 2013-01-08
  49. Kissel, Howard. "Tennessee's New/Old Memphis". The Daily News. April 26, 2001.
  50. Jaworski, Ken; "Waiting for Streetcar: 'Will Mr. Merriwether Return From Memphis?'". Off-Off-Broadway Review. Volume 7, Number 26. May 2, 2001. Retrieved 2013-01-03.
  51. Cavalieri, Grace. "Pinecrest Rest Haven". Scene 4 Magazine. October 2010. Retrieved 2013-01-02.
  52. DeVita, Doug. "No Rest for the Weary: 'Pinecrest Rest Haven'". The Off-Off-Broadway Review. Volume 7, Number 24. March 29, 2001. Retrieved 2013-01-02.
  53. Marcia Haufrecht interview: How she started writing on YouTube. The Sissy Gamache Show. Aired September 7, 2012. Retrieved 2013-01-07.
  54. Mart, Sheila. "Lunar Landing: 'Full Moon & High Tide in the Ladies' Room'". Off-Off-Broadway Review. Volume 7, Number 13. . Retrieved 2013-01-03.
  55. "Around Town". New York Magazine. May 21, 1979. Retrieved 2013-01-03.
  56. Gardner, Bonnie Milne (1985). The Emergence of the Playwright-Director in American Theatre, 1960-1983. Lewiston, NY: Edwin Mellen Press. p. 157. ISBN 0-7734-7470-6.
  57. "Goings On About Town: The Theatre". The New Yorker. June 9, 1980. Retrieved 2013-01-01.
  58. Mamet, David; Bozzone, Bill; Long, Katharine (1985). "Chronology of major productions, 1972-1985". The Ensemble Studio Theatre: Marathon '84. New York: Broadway Play Publishing Inc. p. 89. ISBN 0-88145-030-8.
  59. Hirsch, Foster (1984). "Notes: Part Two". A Method to Their Madness: A History of The Actors Studio. Cambridge, MA: Da Capo Press, reprinted with permission of W.W. Norton & Company, Inc. p. 351. ISBN 0-306-81102-2.
  60. 45 Seasons of Performing Arts of Woodstock, Inc.. Retrieved 2013-01-08.
  61. Weeks, Jerome. "'Welfare': Stock Characters on Parade". The Dallas Morning News. May 9, 1989. Retrieved 2013-01-10.
  62. Loynd, Ray. "'Amphitryon 38' at Group Rep; 'Dracula Tyrannus' at the Globe; 'Frost' at Commonwealth; 'Potatoes' at Odyssey; 'Full Moon' at West End". The Los Angeles. September 30, 1988. Retrieved 2013-01-08.
  63. Chye, Kee Thuan. "Upstage Down Under, Part 2 - A Theatre Journal: Where warmth is in the theatre". The New Straits Times. April 22, 1994. Retrieved 2013-01-10.
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  65. The Fisher Wedding (Film, 1982). WorldCat. Retrieved 2013-01-03.
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  67. "Theatre Listings: Off-Off-Broadway". New York Magazine. June 28, 1993. Retrieved 2013-01-03.
  68. Promethea Bound and Sisyphus Too: production details]. AusStage. Retrieved 2013-01-02. "World premiere of a new work by Marcia Haufrecht, direct from the New York Actors' Studio."
  69. Bruno Schiappa CV: Stage Productions (Years 2001-2005 & 2007). GeoCities. Retrieved 2013-01-03.
  70. Toepfer, Susan. "Ellen Barkin: She's Headed Toward Stardom Despite Bad Luck, Average Looks". The St. Petersburg Independent. August 14, 1984. Retrieved 2013-01-01.
  71. Baldwin, Alec. 1958-. Retrieved 2013-01-07.
  72. Gerston, Jill (27 September 1992). "The Know-It-All New Yorker of 'Civil Wars'". The New York Times. p. 31. Retrieved June 3, 2018.(scroll to last paragraph.)
  73. Peterson, Bettelou. "Soap Stars". The Calgary Herald. January 11, 1987. Retrieved 2013-01-01.
  74. The Never Was Girl by Amanda Armstrong: about. Retrieved 2013-01-02. "She also has a Bachelor of Arts majoring in drama at La Trobe University, Melbourne, is a Graduate of the Australian Music Examination Board (Contemporary Vocalist) and studied as a young actor with Marcia Haufrecht from The Actors Studio (New York)."
  75. Rachael Meiklejohn, 39 from Marlborough, New Zealand: Acting. Retrieved 2013-01-02. "Marcia Haufrecht - The Actors Studio, NY - Workshop for Method Acting."
  76. Marcia Haufrecht interview: Teaching and directing in Portugal on YouTube. The Sissy Gamache Show. Aired September 7, 2012. Retrieved 2013-01-06
  77. Eduardo Condorcet CV: Additional Qualifications. Retrieved 2013-01-02. "2003 Method Acting - Advanced Workshop + EMDR" - with Marcia Haufrecht (Actors Studio, New York) - Teatro de Trinidade - Lisboa."
  78. Elmano Sancho CV Archived 2014-08-19 at the Wayback Machine. Retrieved 2013-01-02. "2004. Interpretation Workshop leaded [sic] by Marcia Haufrecht."
  79. Linda Valadas CV: Education. Retrieved 2013-01-02. "2000 & 08 Method Acting Workshop led by Marcia Haufrecht (student of Lee Strasberg) New York and Lisbon."
  80. Marcia Haufrecht interview on YouTube. The Sissy Gamache Show. Aired September 7, 2012. Retrieved 2013-01-06

Further reading

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