(Brom) Theatre: GLORIA (also Goodman Theatre). Broadway: THE CHERRY ORCHARD, IN THE HEIGHTS (also First National Tour). Off-Broadway: A MIDSUMMER NIGHT’S DREAM (Public), HEAD OF PASSES (Public), THE FLICK (Barrow Street), FORTRESS OF SOLITUDE (Public), CHOIR BOY (Manhattan Theatre Club), THE NETFLIX PLAYS (Ars Nova) 10 THINGS TO DO BEFORE I DIE (Second Stage). Regional: HEAD OF PASSES (Center Theatre Group, Steppenwolf), FORTRESS OF SOLITUDE (Dallas Theater Center), GOOD GOODS (Yale Rep), KINGDOM (Old Globe). Film: Equity (Sundance, Tribeca 2016). TV: Louis CK’s “Horace and Pete,” “The Big C” (Showtime), “Unforgettable” (CBS). Education: BFA in Drama, Carnegie Mellon University.
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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.
