In a nutshell…

  • Born and raised in Germany, educated in US, trained in theater at Yale Drama School (MFA)
  • Accent free in both English and German.
  • Producer and translator committed to political and social engagement for over 35 years.
  • Since 1981, produced theater with husband Nick Fracaro, both nationally and internationally, with own company International Culture Lab. Our work has been extensively documented, including in PAJ: A Journal of Performance and Art’s Spring 2015 issue.
  • As an actor, performed in Argentina, Canada, Republic of Georgia, Germany, New Zealand, Turkey… in venues ranging from prisons, shantytowns, private apartments to Coney Island.
  • Studied Butoh for a number of years, in 2005 and 2007 was producer of the CAVE New York Butoh Festival; ICL is currently producer of the annual Coney Island Butoh & Beyond festival.
  • BA in Criminal Justice along with Theater from the U of Illinois.

For those who wouldn’t mind knowing a little more…

I was born in Aschbach in the Odenwald region of Germany, where Siegfried died after slaying the dragon.  AschbachByAndrewWhen I moved at age 11 to suburban Chicago, I didn’t know any English other than the songs “England Swings” by Roger Miller and “Over the Prairie the Cowboy Will Ride” taught to me by my beloved American GI stepfather. He and my mother said we were to remain in the U.S. for only two years but later announced that the move was permanent. Heartbroken, I vowed to escape as soon as I was 18.  But until then, summers out of school were spent with my Oma back in the little German village I still call home and where I still have many of my closest friends.

Bewildered by such concepts as cheerleading, prom, “going steady” and other American high school tyrannies, my first great acting teacher, Mike Dice, came to the rescue by uncovering my aptitude for acting and with it, naturally, my love for the theater. My first role was the German character Holga in Arthur Miller’s “After the Fall.” While my accent came in rather handy here, Dice (as we affectionately called him until his death in 2002) suggested that I would limit myself if I didn’t lose it. Challenge accepted and risen to!

balconyHonoring the pinky-swear with myself never to live in the U.S. permanently and never ever to marry an American, at 18 I did indeed go back to school in Germany. But after only a year my Oma passed away. Since the rest of my immediate family was in the U.S, well… hello University of Illinois at Chicago… where I then met fellow actor and writer Nick Fracaro, to whom I’m married to this day. So much for pinky-swears.

While still in college, Nick and I founded Thieves Theatre (after Jean Genet) and together have created politically and socially engaged theater all over the world. Thieves’ first project was Genet’s Deathwatch produced at Illinois State Penitentiary. Its most recent work, S/he, examined the role of women in both Turkish and American societies and was performed in Istanbul as well as Ithaca’s Kitchen Theatre.

I received degrees in both Criminal Justice and Theater (more related than you might first think — both are about human behavior) and was then accepted to the Yale School of Drama. After 3 years in bucolic New Haven (that’s sarcasm) I was delighted to move to New York, where, after a brief and awkward stint in show business, I went back to producing and acting in edgy, multidisciplinary, often NewYorkerTipisite-specific, sometimes controversial work, mostly with Thieves. One example was the world premiere of my translation of R.W. Fassbinder’s Trash, the City and Death, which was the source of great attention in both Europe and the U.S. Another was Nomad Monad: The Making of Thieves Theatre’s Last Stand which involved erecting a tepee – made by me out of 78 US#3 mailbags – in New York’s oldest shantytown, then living, exhibiting and performing in it over the course of 3 years while navigating the city’s volatile political waters in the early 90’s. This project was part of a New Museum retrospective.

(From the April/May 2013 exhibit at the New Museum)

In 1994, Thieves, along with a handful of theaters from across the United States, co-founded the Rat Conference, a national consortium of theater workers dedicated to sharing work and ways of working. RATDuring its 10-year run, RAT spawned dozens of national and international collaborations and marked several important segment of theater history. One is the beginning of the digital medium’s direct impact on relationships among theater peers by creating an email list-serv and website (hosted and maintained by Thieves Theatre) to articulate common aesthetics and initiate joint theater productions. The press cited RAT as the “regional alternative theater revolution.”

In 2007, Thieves was renamed International Culture Lab to reflect the company’s evolved mission. My work with Thieves/ICL has directly or indirectly allowed me to act and Broellinproduce all over the U.S., Argentina, Canada, New Zealand, Turkey, and my native Germany, where I’ve been lucky enough to perform at some of the country’s most important theaters.

In 2001, I fell in love with and began studying Butoh with various masters from around the world, and in 2005 and 2007 I was producer of the CAVE New York Butoh Festival.

Along with acting – my first love and now primary focus – I translate and continue to live a charmed life with my husband in our brownstone in Brooklyn, where we sometimes host exhibits and performances. And yes, over the years, I have periodically lived in Germany, where I am a citizen to this day.