(Projection Designer) Broadway: THE CRUCIBLE. Off-Broadway: LAZARUS, KING LEAR, DISTRACTED, LITTLE FOXES, LIBERTY CITY, KAOS, BEAST, THE MISANTHROPE, LUSH VALLEY, SOUNDING, FUTURA, CORPUS EXQUISITUS, A DOG AND PONY SHOW, TIGHT RIGHT WHITE and QUOTATIONS FROM A RUINED CITY. Regional: INDECENT, SWIMMING IN MARCH, POP!. International: ANTIGONE, KINGS OF WAR, THE FOUNTAINHEAD, LUDWIG II, CRIES AND WHISPERS, ANTONIONI PROJECT, MOURNING BECOMES ELECTRA, CHILDREN OF THE SUN, THE RUSSIANS, ANGELS IN AMERICA, HUSBANDS, ROMAN TRAGEDIES, EDWARD II. Opera: BETWEEN WORLDS, MAZEPPA, LA CLEMENZA DE TITO, IDOMENEO, BROKEBACK MOUNTAIN, DER SCHATZGRÄBER, MACBETH, WAGNER’S RING CYCLE.
TAL YARDEN
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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.
