Peter Wexler Biography (1936-) (original) (raw)

Full name, Peter John Wexler; born October 31, 1936, in New York, NY; son ofS. David and Berda (Sarnoff) Wexler; married Constance Ann Ross, November 20,1962. Addresses: HOME--277 West End Avenue, New York, NY 10023.

Peter Wexler's drawings have appeared in numerous journals and magazines, including Theatre Crafts, Players Magazine, Opera News, Saturday Review, Interiors, Theatre Design and Technology, and in the Metropolitan Opera Souvenir Book, 1973. His models and drawings have been exhibited in a one-man show at theWright-Hepburn-Webster Gallery, New York City, 1969, and at Avery Fisher Hall, the Library and Museum of the Performing Arts of Lincoln Center, the Max Reinhart Archive, the Kennedy Center for the Performing Arts, the MetropolitanOpera Board Room, the Cooper-Hewitt Museum of the Smithsonian Institution, the Chase Manhattan Bank, B. Altman's, Fortunoff's, and Saks Fifth Avenue.

Nationality

American

Gender

Male

Birth Details

October 31, 1936

New York, New York, United States

Famous Works

Credits; PRINCIPAL STAGE WORK
Set, lighting, and costume designer, Antony and Cleopatra, New York Shakespeare Festival (NYSF), Heckscher Theatre, New York City, 1959.
set, lighting, and costume designer, The Big Knife, Seven Arts Playhouse,New York City, 1959.
set and lighting designer, Brecht on Brecht, Theatre de Lys, New York City, 1962.
set and lighting designer, The Barroom Monks and Portrait of the Artist as a Young Man, both Martinique Theatre, New York City, 1962.
set and lighting designer, The Threepenny Opera, Sacandaga Playhouse, Sacandaga, NY, 1962.
set and lighting designer, Abe Lincoln in Illinois and set, lighting, andcostume designer, The Taming of the Shrew, both Phyllis Anderson Theatre, New York City, 1963.
set and lighting designer, Watch the Birdie, Coconut Grove Playhouse, Coconut Grove, FL, 1964.
lighting designer, Scapino (ballet), and Eleanor Roosevelt Tribute, bothPhilharmonic Hall, New York City, 1964.
stage installation designer, Laterna Magika, Carnegie Hall, New York City, 1964.
set and lighting designer, War and Peace (opera), Association of Producing Artists, Ann Arbor, MI, 1964, then Phoenix Theatre, New York City, 1965.
set, lighting, and costume designer, Masque of Angels, Tyrone Guthrie Theatre, Minneapolis, MN, 1964.
set, lighting, and costume designer, Capers (ballet), Robert Joffrey Ballet, Bolshoi Theatre, Moscow, U.S.S.R., 1964.
Set and lighting designer, Lizzie Borden (opera), New York City Opera Company, City Center Theatre, New York City, 1965.
set, lighting, and costume designer, La Boheme (opera), Corpus Christi Symphony Orchestra, New York City, 1965.
set, lighting, and costume designer, The Deputy, Theatre Group, Los Angeles, CA, 1965.
set and lighting designer, The Burnt Flower Bed, Theatre Guild, New YorkCity, 1965.
set designer, The White Devil, Circle in the Square, 1965.
set, lighting, and costume designer, Candide, Center Theatre Group, Los Angeles, CA, 1966.
set and lighting designer, A Joyful Noise, Mark Hellinger Theatre, New York City, 1966.
set and lighting designer, The Magic Flute (opera), Washington Opera Society, Washington, DC, 1966.
set, lighting, and costume designer, Cosi Fan Tutte (opera), Corpus Christi Symphony Orchestra, Corpus Christi, TX, 1966.
set, lighting, and costume designer, The Devils and The Marriage of Mr. Mississippi, both Center Theatre Group, Mark Taper Forum, 1967.
set designer, The Happy Time, Broadway Theatre, New York City, 1968.
set and lighting designer, Camino Real, Center Theatre Group, Mark TaperForum, Los Angeles, CA, 1968.
set and (with Elinor Bunin) projection designer, In the Matter of J.
Robert Oppenheimer, Center Theatre Group, Mark Taper Forum, 1968, then Vivian Beaumont Theatre, New York City, 1969.
set designer, Chemin de Fer, and set and costume designer, Uncle Vanya, both Center Theatre Group, Mark Taper Forum, 1969.
lighting designer, Prometheus (concert work), New York Philharmonic, NewYork City, 1969.
Set and costume designer, Camino Real, Vivian Beaumont Theatre, 1970.
set designer, Minnie's Boys, Imperial Theatre, New York City, 1970.
set designer, Murderous Angels, Center Theatre Group, Mark Taper Forum, 1970, then Playhouse Theatre, New York City, 1971.
costume designer, Rosebloom, Center Theatre Group, Mark Taper Forum, 1970.
set designer, The Trial of the Catonsville Nine, Phoenix Theatre, Good Shepherd Faith Church, then Lyceum Theatre, both New York City, 1971, later Center Theatre Group, Mark Taper Forum, 1971.
set and lighting designer, The Gershwin Years, Philharmonic Hall, New York City, 1971.
set designer, Godspell, Center Theatre Group, Mark Taper Forum, 1971.
set designer, The Web and the Rock, Theatre de Lys, 1972.
set and costume designer, Curlew River (opera), Central City Opera House,Central City, CO, 1972.
set designer, Leonard Bernstein's Mass, Mark Taper Forum, 1973.
set designer, Review of Reviews, Philharmonic Hall, New York City, 1973.
set, lighting, and costume designer, Church Trilogy, Concert Artists Guild, St. James Church, New York City, 1973.
set, costume, and visual effects designer, Les Troyens (opera), Metropolitan Opera House, New York City, 1973.
set and lighting designer, Hamlet, Mark Taper Forum, 1974.
set and lighting designer, Henry IV, Parts I and II, Goodman Theatre, Chicago, IL, 1974.
Set and lighting designer, Le Prophete (opera), Metropolitan Opera House,New York City, 1976.
Set designer, Jockeys, Promenade Theatre, New York City, 1977.
set and lighting designer, Treats, Hudson Guild Theatre, New York City, 1977.
set designer, A Broadway Musical, Lunt-Fontanne Theatre, New York City, 1978.
set and lighting designer, Un Ballo in Maschera (opera), Metropolitan Opera House, 1979.
principal designer, Albert Herring (opera), Savonlinna Opera Festival, Finland, 1981.
director, Terra Nova, Pittsburgh Public Theatre, Pittsburgh, PA, 1981.
producer, If Beale Street Could Talk (multimedia show), Center for Southern Folklore, Memphis, TN, 1983.
set and costume designer, Les Troyens (opera; centennial production), Metropolitan Opera House, 1983.
producer, Goodly Creatures, Smithsonian Institution, Washington, DC, 1983.
producer, Mstislav Rostropovich Sixtieth Birthday Gala Concert, NationalSymphony Orchestra, Kennedy Center, Washington, DC, 1987.
Also set designer, The Curate's Play and Tableaux, both 1961; set and lighting designer, The Mystery of Elche, 1963; set designer Dreams (ballet), NewYork City, 1964; set, lighting, and costume designer, Venus and Adonis, 1964; set designer, The Trial of A. Lincoln, New York City, 1971; set and lighting designer, The Philanthropist, Chicago, IL, 1975; director, Cold Storage, Arizona Theatre Company, 1978; Terra Nova, Los Angeles, CA, 1979.
Credits; MAJOR TOURS
Set, lighting, and costume designer, The Deputy, Theatre Group of Los Angeles, U.S. cities, 1965.
set and lighting designer, On a Clear Day You Can See Forever, U.S.
cities, 1966.
set designer, Mark Taper Forum State Department tour of Far Eastern and European cities, 1969.
Credits; PRINCIPAL FILM WORK
Set designer, Andy, Universal, 1965.
production designer, The Trial of the Catonsville Nine, Universal, 1973.
set and lighting designer, and editor, Happy Talk and Review of Reviews,both New York Philharmonic Hall Films, 1972.
Also designed Un Ballo in Maschera, 1980.
Credits; PRINCIPAL TELEVISION WORK; ALL AS DESIGNER SERIES
The Merv Griffin Show, NBC, 1965.
Also Say When, 1962.
Credits; EPISODIC
"The True Life Story of Frankie Toussaint" (film segment), Saturday NightLive, NBC, 1986.
Credits; SPECIALS
Cleo Awards Ceremony, 1971.