"To bring your experience and temperament into another character; to imagine; to reveal.to be present, to be available without censoring and in the moment, to be concentrated; to amuse, to move, to interest."


  • Talent Express 646-669-9916

  • Ann Wright 212-764-6770




Stage work is deeply satisfying. There is the challenge of the live audience, their response, and the risks and rewards of being in the present: there are always surprises, some unwanted, but most bringing one deeper into a role. Working with others is satisfying (and a contrast to writing), creating theater with the rub of director and other actors. The set and sound designers.

In recent years, after several decades away from the theater in the corporate world, I have had a run of meaty roles in Off-Off Broadway theaters in NYC. Plums:

  • The individualist Grandpa in the eternally funny You Can’t Take It with You, nominated for best male lead actor in the IT Wards.

  • Firs, the aged and passionately devoted servant on Lyuba Ranevskaya’s estate in The Cherry Orchard
    (“Peter Judd serves brilliantly as the play’s anchor as the ancient Firs, at once wise and foolish like all of humanity.” Martin Denton, nytheatre.com;
    “Judd particularly possessed such witty magnetism in his delivery that his very appearance later in the play brought laughter in anticipation of the coming jest. However, as the depth of his commitment to his decidedly ungrateful family became clear his tone became tragic—a transition that Judd carried out reverently.” Olga Privman, reviewfix.com);

  • Nonno, the venerable poet from Nantucket who finds the words to complete his last poem in inn on a Mexican beach in Tennessee William’s The Night of the Iguana;

  • Harry Riley, the down-to-earth locker room attendant obsessed with the fear of poison gas from the Soviets in David Storey’s The Changing Room
    (“Peter Judd, the changing room custodian, stands way out. Judd is exceptional as this crusty codger who longs for the past and warns darkly of the coming hegemony of communism.” Backstage);


  • Tiresias who sees the truth in The Bacchae;

  • Professor Holden, the admired doyen of his mid-western collegein Susan Glaspell’s The Inheritors;

  • Lawyer Hawkins, patiently determing an inheritance in Shaw’s The Devil’s Disciple;

  • Attorney Larkin, sensitive, understanding and baffled in Herne’s Margaret Fleming;

  • Oedipus, blinded, railing against his enemies, going over and over the events that led to his maiming and exile, in the Oedipus at Colonus of Sophocles;

  • The blustering Commander in Shaw’s Don Juan in Hell;

  • Old Brovik, browbeaten and defeated in Ibsen’s The Master Builder.

  • Yourgos in Aristophanes’ The Knights, who ends up with a pie in his face;

  • Theo, a movie critic in old age reliving his passion for Fellini and his romance with the heroines of the silver screen in John Gruen’s new play, I Want to Live;

  • Walter, the all-knowing waiter in Shaw’s You Never Can Tell who, like Grandpa, steers two young people to marriage
    (“Peter Judd has perhaps the best of it as the wise old waiter Walter, the only major character in the story who understands himself and the world around him.” Martin Denton, nytheatre.com);


  • Old Montgomery, the New York merchant beset by a feckless son in the early 1900s melodrama, From Rags to Riches;

  • Lord Caversham, father Wilde’s projection of himself, loving but critical, and also like Grandpa, bringing two young people together in An Ideal Husband.




David Teague created two silent films in the expressionistic style of 1920s German cinema. In The Sandman, adapted from the story by E. T. A. Hoffman, I played the wicked Dr. Coppelius out to steal the eyes of young boys. In his Love Stories, based on a Japanese tale, I was also wicked, a dominating high priest determined to thwart two young lovers. I’ve done a number of student films two of which, Father’s Day, True Believers, included extended scenes for my characters In The Forgery by Gabriella Loutfi, I was the the skilled forger of Vermeer caught by the FBI and interrogated by a panel of experts. These roles called upon expressive and varied performances over several scenes. I was happy to learn from Gabriella my nomination for Best Actor in the Angeleno 2011 film festival.




I returned to theater after three decades of corporate work in Connecticut. I’ve developed my craft with fine teachers, Michael Howard, and a long and continuing relationship with Terry Schreiber at his studio. I worked on Shakespeare with Eloise Watt for many years and participated in a number of memorable workshops on Shakespeare voice and text with Patsy Rodenburg. Way back, before corporate years, I studied with Uta Hagen who taught me to trust self, to live in the moment. I had a life- and art-changing experience from doing her famous exercises, watching her intense focus on students as they performed, being watched, hearing her appreciation when a moment was realized.




I worked up a Sheffield dialect for The Changing Room, of course, used RP for Shaw and Wilde, Greek deli accent for Yourgos, and Dutch in the film, The Forgery.