Since 1976, Algimantas Kvietkauskas has worked as an editor, prop designer, and assistant director at the then Lithuanian Russian Drama Theater, today's Vilnius Old Theater. In 2001-2006, he worked as a leader of the troupe. He was the assistant director of almost all other plays directed at the Jonas Vaitkaus Theater: "Hello, emigrants!" (2005), "Hotel of Two Worlds" (2007), "Cursed Love" (2010), "Foolish Dinner" (2010), "The Last passionate lover" (2011), "Christmas tree at Ivanovus" (2012), "Idol prayers" (2013), "Ice cream palace" (2013), "Eugene Onegin" (2013), "Sparrow's nest" (2013), "Seven beauties" " (2015), "Oscar and Mrs. Rose" (2015), "Seven Fridays of the Pharisee Saul" (2016), "Singles" (2017), "Urodas" (2018), "Utopia" (2020), etc. i.e.
Performed episodic roles in the plays: "Masquerade" by M. Lermontov (dir. V. Lanskoj, 1976), "Halfway to the Top" by P. Ustinov (dir. I. Petrov, 1977), "Joan of Arc" by J. Anouilh (dir. V. Zacharov, 1980), A. Ostrovsky's "Profitable Place" (dir. I. Petrov, 1983), D. Tabor's "Mein Kampf" (dir. A. Vilkin, 1991), A. Volkov "The Wizard of the Emerald City" (dir. A. Šablauskas, 1996), "Immature" by D. Fonvizin (dir. B. Juchananov, 1999), etc. i.e.
A. Kvietkauskas is the real soul of Pohulianka, the old rusdram, the palace of the old theater in Vilnius. A modest, good person, reliable, who in the true sense of the word gave his whole life to the theater. Algis, as he was usually called, was a real "theatre spirit" - you come in the morning, Algis is already here, you leave in the evening, he is still here. It seemed that he lived in the theater and only the theater. Always friendly, asked how things were going... We will greatly miss the man who knew the theater "from the basement to the attic".
"He was an excellent assistant director, without pretentiousness, he really liked talented people, which is rare in the theater. He always had his own opinion, which he never suggested, although he was rarely wrong. He had a great sense of humor, intelligent. And very unhappy, lonely. He didn't make a living from the theater, not even the most modest housing, his life was behind the scenes. Poorer than a church mouse. I remember him with the greatest respect and sincere admiration for being able to dedicate his entire life to the theater so nobly. Goodbye, really Pohulianka's Phantom! I grieve and mourn together with the theater."
