Sam Gold

from there like the set from one project becomes kind of the raw materials to start making the next one like they're all one they're all sort of flowing one to the next on these shakespeare's it really goes back to a feeling i had when i was in school i went to grad school at juilliard and there were these really young companies of actors and they you know they lived and breathed

from there like the set from one project becomes kind of the raw materials to start making the next one like they're all one they're all sort of flowing one to the next on these shakespeare's it really goes back to a feeling i had when i was in school i went to grad school at juilliard and there were these really young companies of actors and they you know they lived and breathed

You know, 24 hours a day they were together. They knew each other so well. They were all having sex with each other and breaking up and getting drunk at night in their dorm rooms and then getting up at 7 in the morning to do fitness class. And, you know, they were like – they were just so in it with each other. You know, that is ensemble. And when I was at school, I just loved making –

You know, 24 hours a day they were together. They knew each other so well. They were all having sex with each other and breaking up and getting drunk at night in their dorm rooms and then getting up at 7 in the morning to do fitness class. And, you know, they were like – they were just so in it with each other. You know, that is ensemble. And when I was at school, I just loved making –

You know, 24 hours a day they were together. They knew each other so well. They were all having sex with each other and breaking up and getting drunk at night in their dorm rooms and then getting up at 7 in the morning to do fitness class. And, you know, they were like – they were just so in it with each other. You know, that is ensemble. And when I was at school, I just loved making –

these plays with these young ensembles. So I've been trying to do that with these Shakespeare's to bring these ensembles together. And they all, all five of them come from that same place. They all were, I don't know, almost like kind of rough and ready school plays.

these plays with these young ensembles. So I've been trying to do that with these Shakespeare's to bring these ensembles together. And they all, all five of them come from that same place. They all were, I don't know, almost like kind of rough and ready school plays.

these plays with these young ensembles. So I've been trying to do that with these Shakespeare's to bring these ensembles together. And they all, all five of them come from that same place. They all were, I don't know, almost like kind of rough and ready school plays.

I'm really inspired by specific actors. So, you know, Gabby Beans came in to audition and all of a sudden it's like... Mercutio and the Friar. And, you know, what if Gabi is kind of Shakespeare, kind of the storyteller, kind of like holding it down for us, the emcee. That idea of Gabi as a kind of the emcee of the evening, that's just Gabi. That's me responding to her talent.

I'm really inspired by specific actors. So, you know, Gabby Beans came in to audition and all of a sudden it's like... Mercutio and the Friar. And, you know, what if Gabi is kind of Shakespeare, kind of the storyteller, kind of like holding it down for us, the emcee. That idea of Gabi as a kind of the emcee of the evening, that's just Gabi. That's me responding to her talent.

I'm really inspired by specific actors. So, you know, Gabby Beans came in to audition and all of a sudden it's like... Mercutio and the Friar. And, you know, what if Gabi is kind of Shakespeare, kind of the storyteller, kind of like holding it down for us, the emcee. That idea of Gabi as a kind of the emcee of the evening, that's just Gabi. That's me responding to her talent.

A lot of people falsely sort of label me as like a deconstructionist or something because like they're wearing street clothes. Does that piss you off when people do that? It does piss me off because, well, it doesn't piss me off, but it's sad that they don't really know what they're saying when they're attributing that to me. I'm not deconstructing these plays. I'm doing the play. Right.

A lot of people falsely sort of label me as like a deconstructionist or something because like they're wearing street clothes. Does that piss you off when people do that? It does piss me off because, well, it doesn't piss me off, but it's sad that they don't really know what they're saying when they're attributing that to me. I'm not deconstructing these plays. I'm doing the play. Right.

A lot of people falsely sort of label me as like a deconstructionist or something because like they're wearing street clothes. Does that piss you off when people do that? It does piss me off because, well, it doesn't piss me off, but it's sad that they don't really know what they're saying when they're attributing that to me. I'm not deconstructing these plays. I'm doing the play. Right.

I've done plays where I think Ben Brantley said the playwright was rolling in his grave, which is not the most original piece of criticism. I think it's a gross misunderstanding of the difference between conventions and authentic engagement in a text.

I've done plays where I think Ben Brantley said the playwright was rolling in his grave, which is not the most original piece of criticism. I think it's a gross misunderstanding of the difference between conventions and authentic engagement in a text.

I've done plays where I think Ben Brantley said the playwright was rolling in his grave, which is not the most original piece of criticism. I think it's a gross misunderstanding of the difference between conventions and authentic engagement in a text.

Yeah, we have conventions, right? When you're going to go see an Ibsen play, this is what you picture it looking like. And those things come, those expectations come from some other successful period of theater history. You know, Richard Eyre does enough beautiful Ibsen plays at the Royal National Theater in the 90s.

Yeah, we have conventions, right? When you're going to go see an Ibsen play, this is what you picture it looking like. And those things come, those expectations come from some other successful period of theater history. You know, Richard Eyre does enough beautiful Ibsen plays at the Royal National Theater in the 90s.

Yeah, we have conventions, right? When you're going to go see an Ibsen play, this is what you picture it looking like. And those things come, those expectations come from some other successful period of theater history. You know, Richard Eyre does enough beautiful Ibsen plays at the Royal National Theater in the 90s.