Graduated in 2004 from The American Academy of Dramatic Arts in New York, as a conservatory trained actress, I now work freelance in Theatre, Performance, Film, TV- and commercials.
Member of Danish Actors’ Association, The Danish Playwrights’ and Screenwriters’Guild, Danish Film Academy, Founding Member of The Actors Society in USA.
I have a large variety of different acting and performance techniques to draw from through the years: From Meisner, Hagen, Strassberg, to Odin Teatret with street performances and interventions, to sensual Burlesque to a more Drag-King universe, over Shakespeare and lots of long text heavy theatre monologues.
I am fluent in Danish and English. Trained in General American + American dialects, English RP and some Irish. Good knowledge of the Scandinavian languages and dialects. Some Italian, German, French and am learning Greek.
PRESENTLY:
I will in the autumn of 2024 perform two new theatre monologues: premiering in October Nobel prize winner Herta Müller’s The Appointment (I dag havde jeg helst ikke mødt mig selv) on a day in the life of a factory worker during Ceausescu’s totalitarian regime, she’s been summoned, and premiering in November I Am Anastasia (Jeg er Anastasia) based on the stories and mystery of Anna Anderson’s claim to be Anastasia. Both plays are directed by Ulla Koppel.
RECENT THEATRE TO MENTION:
Played Lilly in the full run and re-run of the dramatic-music play Shoes by Danube in 2022 and Sept. 23, in Valby, DK. Written and directed by Ulla Koppel and with music and songs composed and played live by Anders Koppel.
Performed the 1h15min. long theatre monologue My life with Dostoevsky in CPH, Oct. 21, for the bicentenery of Dostoevsky. Based on the memoirs of Anna Dostoevskaya. Winner of Best New Play (based on foreign material) 2021 by CHPCulture.
My Life with Dostoevsky (In English translation): ‘In the role of Dostoevsky’s both independent and all-sacrificing stenographer and muse, the sparkling actress Mira Noltenius is seen with confidential eyes, up-done braids and a pertinent voice’. – by Anne Middelboe Christensen, Theatre Critic.
