Vineyard Theatre: KID VICTORY, THE LANDING, THE SCOTTSBORO BOYS (also Broadway). Broadway credits include THE VISIT, SONDHEIM ON SONDHEIM, CURTAINS, RAGTIME, A CLASS ACT, STEEL PIER, and revivals of PORGY AND BESS, SHE LOVES ME, COMPANY, and SWEENEY TODD. Off-Broadway: THE WORLD GOES ‘ROUND. PBS: “First You Dream.” He originated the role of Manny in Terrence McNally’s MASTER CLASS (starring Zoe Caldwell) and made his Broadway debut in Harold Prince’s original 1981 production of Stephen Sondheim’s MERRILY WE ROLL ALONG. He is a graduate of Yale University and is currently teaching at the Manhattan School of Music.
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Did you see Dana H.?
Yeah, and I got the chance to interview her.
I mean, who knew that you can do that? That was one of the most thrilling pieces of theatre I’ve seen in recent years.
It was a quite a document. That wasn’t very long before the pandemic, and I think there has been talk about bringing it back.
You know, when people ask, what would be your ideal theatre, it would be that you could see shows again that you may have missed them during their three-week run—that there could be some kind of repertory theatre that could bring these things back. The other great docudrama I saw recently was Is This a Room?, the Tina Satter play. My larger point here is, is documentary theatre a form I’m innately drawn to? No. But then you go look at these shows, and there’s no way you can say, “This is not art.”Ben Brantley: A Critic Is a Mirror, Not a Shaper
americantheatre.org
The Times’ lead critic looks back on a fertile period in the field and reflects on the role he played in it.
