Peter Gerety’s film credits include Michael Mann’s Public Enemies, Robert Zemeckis’ Flight, Clint Eastwood’s Changeling, George Clooney’s Leatherheads, Mike Nichols’ Charlie Wilson’s War, Spike Lee’s Inside Man, the independent feature Things That Hang from Trees, Syriana, War of the Worlds, K-Pax, People I Know, Magic Hour, Montana, The Legend of Bagger Vance, Mrs. Winterborne, Surviving Picasso, Ed Burn’s Ash Wednesday, A Most Violent Year, Cymbeline, Get the Gringo, Paul Blart: Mall Cop, God’s Pocket, The Sea Is All I Know, Hollywood Ending, The Curse of the Jade Scorpion, A Change in the Air and Working Man. Television credits include Showtime’s Ray Donovan HBO’sThe Immortal Life of Henrietta Lacks and Muhammad Ali’s Greatest Fight; Brothers And Sisters, the Tom Fontana/WB series The Bedford Diaries, HBO’s The Wire, Homicide, Law and Order, Ed, Ed Burns’ Public Morals, Kidnapped, Daredevil, Madam Secretary, The Black Donnelly’s, Elementary, The Good Wife, Brotherhood, The House of Mirth, Central Park West, Third Watch, The Return to Lonesome Dove and the PBS Mini-Series Mercy Street. Theatre credits include the Broadway productions of the late Nora Ephron’s play Lucky Guy opposite Tom Hanks and Martin McDonaugh’s The Lieutenant of Inishmore which transferred after a successful run off-Broadway at the Atlantic Theatre Company, the Broadway production of Never Gonna Dance, Susan Lori Park’s Fucking A, and Henry V at N.Y.’s Shakespeare in the Park. Peter worked on stage for over 30 years, performing in over 100 productions with the legendary Trinity Repertory of Providence, R.I. alone (Adrian Hall, dir.). He has also performed with the Seattle Rep., the Dallas Theater Center, ART in Cambridge, the Huntington in Boston, and in Edinburgh, Scotland; Madrid, Spain; Bombay, Calcutta, and Damascus, Syria. Peter has been in numerous Broadway and Off-Broadway plays including playing Roderigo to James Earl Jones’ Othello and finally, is an accomplished director, primarily with the Dallas Theater Center and Trinity Rep.
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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.” ... See MoreSee LessBen Brantley: A Critic Is a Mirror, Not a Shaper
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The Times’ lead critic looks back on a fertile period in the field and reflects on the role he played in it.Like Us
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