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Theatre Gallery
Tis Pity She's A Whore- Giovanni
"Altman, on the other hand, was uncompromising in making Giovanni genuinely quite scary. There were smiles every now and again – when Giovanni got what he wanted – but no romanticization of the character, with aggression always underpinning Giovanni’s destructive rejection of the world’s values and morals and his sister’s own ability to consent."
- The Bardathon
The Winter's Tale-
Polixeness/Clown/Lord/Steward/Jailer
"The Sicilian court was the bleeding into Sicilia of the color of Bohemia (best epitomized in a joyful 5.2 led by Altman’s steward, here an over-enthusiastic chef explaining the discoveries with vivid physical illustration to his peers and Autolycus)"
-The Bardathon
Macbeth- Macbeth
"Again and again, you were clear and convincing, and I think it's some of the best work you have done. I was especially impressed with the silent work you did on your box during those moments when characters inside the play would speak to or about you."
Romeo and Juliet- Romeo
"Romeo is nothing if not impetuous, and Louis Altman captured that rashness as well as his sense of loyalty as he clearly articulated Shakespeare’s complex, poetic language."
- The Crozet Gazette
A Midsummer Night's Dream-
Demetrius/Snug
"Altman’s relaxed, confident Demetrius sauntered into the play with the backing of Egeus and a physical swagger that bespoke his surety.
- The Bardathon
As You Like It- Touchstone
Mary Baldwin Shakespeare and Performance
"Louis Altman’s Touchstone was an outlier in the court, confined to denim and a blue blazer but with an unabashed line in innuendo (I’ve rarely seen the knight’s mustard and pancakes made to sound quite so dirty)."
- The Bardathon
The Two Noble Kinsmen- Wooer
Mary Baldwin Shakespeare and Performance
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