Oswald modelled the film's visuals on a staging of the play by Max Reinhardt at the Deutsches Theater.
After working as a nurse during the war and working as editor of the magazine Femina, she wrote a column in the Beaverbrook newspapers before turning to the stage, playing the Madonna in the revival of The Miracle (directed by Max Reinhardt).
She moved to Hollywood, California and attended Max Reinhardt's drama school, where she was spotted by talent scouts while taking part in the school's stage workshop.
Lebeck was born in Germany where he did stage design for Max Reinhardt.
Reinhardt's mother divorced his father and married movie director Gottfried Reinhardt, the son of director Max Reinhardt.
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Large cinemas like the Ufa-Palast am Zoo opened, then the main locations of German film, accompanied by a lively variety and Kabarett scene, while in 1928 Max Reinhardt took over the Kurfürstendamm theatres in the rooms of the former Berlin Secession.
In 1917 Matchabelli married Norina Gilli (born in Florence, Italy) who had become famous for her portrayal of the Madonna in Max Reinhardt's unique 1911 pantomime spectacle play The Miracle.
In 1930, Abba founded her own theatrical company and specialized in staging the works of Pirandello and other European playwrights like George Bernard Shaw, Gabriele d'Annunzio and Carlo Goldoni under the direction of prestigious directors like Max Reinhardt and Guido Salvini.
Since then, it has been staged by such notable directors as Max Reinhardt, Olof Molander, Roger Blin, and Ingmar Bergman.
Outside the Opera, Losch took modern dance class with Grete Wiesenthal and Mary Wigman, and performed dramatic and movement roles in Viennese theaters, at the Salzburg Festival and in Max Reinhardt's 1924 Berlin production of A Midsummer Night's Dream, also choreographing for the Shakespeare play.
Just a few examples are Max Reinhardt, Asta Nilsen, Saljapin, Valdemar Psylander, Professor Barnard, Roberto Benzi, Mario del Monaco, Anna Moffo, Renata Scotto, Elisabeth Schwarzkopf, Amerigo Tot, Valentina Tereskova.
Following Max Reinhardt to New York, Harry Horner assisted Reinhardt in his staging of the Biblical musical spectacle "The Eternal Road" ("Der Weg der Verheissung"); the production had music by Kurt Weill; conducted by Harry Horner; opening at the Manhattan Opera House 1/7/1937-5/15/1937 with scenic design, costume design and lighting by Norman Bel Geddes.