(Production Stage Manager) Vineyard Theatre: INDECENT. New York: THE DEATH OF THE LAST BLACK MAN IN THE WHOLE ENTIRE WORLD…, CHERI (Signature); RED SPEEDO, SCENES FROM A MARRIAGE, BELLEVILLE, THE BLACK EYED (New York Theatre Workshop); MOTHER COURAGE, DOCTOR FAUSTUS, THE CAUCASIAN CHALK CIRCLE, THE SCHOOL FOR LIES, THE FOREST (CSC); FUTURITY (Soho Rep/Ars Nova); WASHETERIA, WE ARE PROUD…., ORANGE, HAT & GRACE (Soho Rep); PRETTY FILTHY, IN THE FOOTPRINT, PARIS COMMUNE, THE GREAT IMMENSITY (Civilians); THE DESIGNATED MOURNER, IN DARFUR, (The Public); GARDEN OF EARTHLY DELIGHTS, ANGEL REAPERS (Conceived by Martha Clarke). Select Regional: WILD SWANS (ART/Young Vic); OEDIPUS, A MIDSUMMER NIGHT’S DREAM, LA DISPUTE, THE SOUND OF A VOICE (ART). Usual Suspect (NYTW), Associate Artist, The Civilians.
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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.
