Sam Gold

And then we think of Ibsen as, when we close our eyes, we see some Richard Eyre production. But it's 40 years later, 30 years later, and that's a convention. It's not like that

And then we think of Ibsen as, when we close our eyes, we see some Richard Eyre production. But it's 40 years later, 30 years later, and that's a convention. It's not like that

And then we think of Ibsen as, when we close our eyes, we see some Richard Eyre production. But it's 40 years later, 30 years later, and that's a convention. It's not like that

It has nothing to do with it. And I'm actually just reading the play and engaging in the play. And I'm doing a ton of homework on what Elizabethan theater was like, what Elizabethan culture was like, what Elizabethan politics were like. I'm understanding what's going on in religious battles and political battles of the time.

It has nothing to do with it. And I'm actually just reading the play and engaging in the play. And I'm doing a ton of homework on what Elizabethan theater was like, what Elizabethan culture was like, what Elizabethan politics were like. I'm understanding what's going on in religious battles and political battles of the time.

It has nothing to do with it. And I'm actually just reading the play and engaging in the play. And I'm doing a ton of homework on what Elizabethan theater was like, what Elizabethan culture was like, what Elizabethan politics were like. I'm understanding what's going on in religious battles and political battles of the time.

And then I'm thinking about what the playwright was trying to do vis-a-vis all those things and thinking about our own world. And how that play could best affect the audience that doesn't have those politics from 400 years ago has a different set of politics. So, I mean, with Romeo and Juliet, there will be people that think I have the sound too loud. The sound is loud. It's loud. It's fun.

And then I'm thinking about what the playwright was trying to do vis-a-vis all those things and thinking about our own world. And how that play could best affect the audience that doesn't have those politics from 400 years ago has a different set of politics. So, I mean, with Romeo and Juliet, there will be people that think I have the sound too loud. The sound is loud. It's loud. It's fun.

And then I'm thinking about what the playwright was trying to do vis-a-vis all those things and thinking about our own world. And how that play could best affect the audience that doesn't have those politics from 400 years ago has a different set of politics. So, I mean, with Romeo and Juliet, there will be people that think I have the sound too loud. The sound is loud. It's loud. It's fun.

It's loud in there. And there will be audience members that say that is too loud. Yeah. That's fine with me because I have an interest in connecting this text to this specific audience that does not think it's too loud. Right. And I'm willing to hear the complaints because I have a sort of risk tolerance that I think has come from starting downtown. Right.

It's loud in there. And there will be audience members that say that is too loud. Yeah. That's fine with me because I have an interest in connecting this text to this specific audience that does not think it's too loud. Right. And I'm willing to hear the complaints because I have a sort of risk tolerance that I think has come from starting downtown. Right.

It's loud in there. And there will be audience members that say that is too loud. Yeah. That's fine with me because I have an interest in connecting this text to this specific audience that does not think it's too loud. Right. And I'm willing to hear the complaints because I have a sort of risk tolerance that I think has come from starting downtown. Right.

The reason why I really love it is the proscenium theaters, the Broadway theaters, they were built in the 19th century with the idea that there was going to be an actor standing downstage center declaiming. I'm happy to see Ethel Merman stand down center. Like, if I could be taken back in time, I would enjoy going to those shows. It's not that I dislike it. It's that it's an old convention.

The reason why I really love it is the proscenium theaters, the Broadway theaters, they were built in the 19th century with the idea that there was going to be an actor standing downstage center declaiming. I'm happy to see Ethel Merman stand down center. Like, if I could be taken back in time, I would enjoy going to those shows. It's not that I dislike it. It's that it's an old convention.

The reason why I really love it is the proscenium theaters, the Broadway theaters, they were built in the 19th century with the idea that there was going to be an actor standing downstage center declaiming. I'm happy to see Ethel Merman stand down center. Like, if I could be taken back in time, I would enjoy going to those shows. It's not that I dislike it. It's that it's an old convention.

And because of technological advances... It doesn't really make sense for every play to be done that way. A proscenium doesn't really speak to how a contemporary audience will best engage with storytelling live. And the round is much closer. You get this sort of over-the-shoulder shot that you're used to in a film. And you get intimacy that film has given us to actors.

And because of technological advances... It doesn't really make sense for every play to be done that way. A proscenium doesn't really speak to how a contemporary audience will best engage with storytelling live. And the round is much closer. You get this sort of over-the-shoulder shot that you're used to in a film. And you get intimacy that film has given us to actors.

And because of technological advances... It doesn't really make sense for every play to be done that way. A proscenium doesn't really speak to how a contemporary audience will best engage with storytelling live. And the round is much closer. You get this sort of over-the-shoulder shot that you're used to in a film. And you get intimacy that film has given us to actors.

Like after the close-up, it's hard to sit at the back of a 1,000-seat, 2,000-seat theater. And at Circle in the Square, everybody's in a close-up. There's no bad – there are zero bad seats at Circle in the Square. And so you get that experience because I'm trying to do these plays that I'm saying they're kind of – grief rituals, right?

Like after the close-up, it's hard to sit at the back of a 1,000-seat, 2,000-seat theater. And at Circle in the Square, everybody's in a close-up. There's no bad – there are zero bad seats at Circle in the Square. And so you get that experience because I'm trying to do these plays that I'm saying they're kind of – grief rituals, right?