^ abFreedman, Gerald (Summer 2008). "My Life in Art: A 21st Century Riff on Stanislavsky"(PDF). The Fellows Gazette. The Roger L. Stevens Address. Vol. 47. College of Fellows of the American Theatre. pp. 5–10. Archived from the original(PDF) on 2013-12-09. Retrieved 2013-12-05. It started when I went to Northwestern University and fell under the guidance of Alvina Krause, a former girl's gym teacher and eurhythmics instructor who seemed to have discovered Stanislavski and his techniques by accident, by curiosity and by observing the actors of the Twenties and Thirties. I still use many of her teachings in my work both professionally and in mentoring at the North Carolina School of the Arts. They are still valid. Alvina Krause reinforced in Art what I had learned from my Jewish parents in Lorain, Ohio. An unalloyed irreducible/inflexible respect for integrity of execution in all things. I arrived at Northwestern loaded with potential in skills, a hunger to learn about everything and boundless curiosity and energy. Alvina Krause guided me through a maze of possibilities to a clearer vision of who I was meant to be.
^"Introduction of Roger L. Stevens Speaker Gerald Freedman"(PDF). The Fellows Gazette. Vol. 47. College of Fellows of the American Theatre. Summer 2008. pp. 4–5. Archived from the original(PDF) on 2013-12-09. Retrieved 2013-12-05. ...he is a protegé of Alvina Krause at Northwestern University during the golden age of that famous theatre school; he presided over the golden era of John Houseman's Acting Company at Juilliard; he was artistic director during the golden years of Joe Papp's New York Shakespeare Festival; he was instrumental in the creation of a dozen musicals during the golden age of Broadway; he was artistic director of the American Shakespeare Festival in Stratford during that company's golden vintage; last year, he directed Beckett's Happy Days at an Istanbul on the Golden Horn of Turkey; and he recently staged a golden anniversary revival of West Side Story.