Brustein says that over the years, he has struggled to create an alternative to "commercial theater," which he describes as solely devoted to making profits.

He says he believes theater should, instead, be "motivated to make works of art," a goal aided by the establishment of permanent acting companies.

Involved in several aspects of performance, Brustein acts, directs and plays the clarinet and tenor saxophone.

He says he believes strongly in the importance of theater to society.

"Actors create models of behaviors...they give us deeper insights into the human condition," Brustein says. "They are the ultimate interpreters of great plays...they are willing to have contact with their own emotions which is important in a repressed culture like our own."

Brustein's son, Daniel Brustein, says he has fond memories of times spent with his father during his childhood.

"He is a very warm, friendly, compassionate person," says Daniel Brustein, who works as an Internet Software Engineer for SonicNet Inc.

Geidt also emphasizes Brustein's open and interesting nature.

"He's tall, he can be extremely funny, a very good mimic, passionate...can have a hot temper," Geidt says. "He's a very strong mixture of many things."

Geidt says, as a director, Brustein gives actors many opportunities to give their input to the show and allows them freedom that enhances the work overall.

"He's not a dictatorial director," Geidt says. "It's a collaboration between the author, the playwright and the director."

Brustein grew up in Manhattan, New York. During his adolescent years and early twenties, he experimented as a musician and an actor.

He attended Amherst College where, during one of his theatrical performances, a theater agent offered to sign him on. Brustein said his parents did not want him to become an actor and encouraged him to refuse the offer.

After graduation, Brustein studied directing for one year at Yale Drama School, but then dropped out and dabbled in television.

"I thought the training at Yale was very old-fashioned. They had not heard of Stanislavsky," Brustein said. "It was all fans and feathers-restoration theater."