Vincent Cunningham

So I wanted to understand why Romeo and Juliet, why now, and how he came up with this totally interesting, totally bonkers production. How does Sam Gold find his way into the middle of this mess? Like, what makes you decide to do Romeo and Juliet now?

It's funny that you framed the play in that way. I've always thought of Romeo and Juliet as a play about young people, but not necessarily as one for young people. There were so many, especially young women in the crowd that I went to. There was certainly, like, a sort of fan aspect of, like, we know these people. We're excited for them.

It's funny that you framed the play in that way. I've always thought of Romeo and Juliet as a play about young people, but not necessarily as one for young people. There were so many, especially young women in the crowd that I went to. There was certainly, like, a sort of fan aspect of, like, we know these people. We're excited for them.

It's funny that you framed the play in that way. I've always thought of Romeo and Juliet as a play about young people, but not necessarily as one for young people. There were so many, especially young women in the crowd that I went to. There was certainly, like, a sort of fan aspect of, like, we know these people. We're excited for them.

One sort of subtext of the play was Kit Conner's triceps are very prominently displayed all play along. But, you know, it just seemed to have this, like, very populist feeling where the people in the audience are being interacted with are— Offering their emotions, their sighs, their sort of exclamations. What was your theory of audience in making this show?

One sort of subtext of the play was Kit Conner's triceps are very prominently displayed all play along. But, you know, it just seemed to have this, like, very populist feeling where the people in the audience are being interacted with are— Offering their emotions, their sighs, their sort of exclamations. What was your theory of audience in making this show?

One sort of subtext of the play was Kit Conner's triceps are very prominently displayed all play along. But, you know, it just seemed to have this, like, very populist feeling where the people in the audience are being interacted with are— Offering their emotions, their sighs, their sort of exclamations. What was your theory of audience in making this show?

Othello, Macbeth, King Lear, Hamlet, and now Romeo and Juliet. And I... has this been a project for you? Because you've also done, you've worked on Ibsen, you've worked on other things. But has this Shakespeare sort of visitation for you? Do you conceive of it as one project?

Othello, Macbeth, King Lear, Hamlet, and now Romeo and Juliet. And I... has this been a project for you? Because you've also done, you've worked on Ibsen, you've worked on other things. But has this Shakespeare sort of visitation for you? Do you conceive of it as one project?

Othello, Macbeth, King Lear, Hamlet, and now Romeo and Juliet. And I... has this been a project for you? Because you've also done, you've worked on Ibsen, you've worked on other things. But has this Shakespeare sort of visitation for you? Do you conceive of it as one project?

Yes, sorry.

Yes, sorry.

Yes, sorry.

Does the makeup of that ensemble, who's in it, what kind of ideas and physicality and everything that they bring, is that something that develops in conjunction with that ensemble? Or do you... as a director, show up with a concept. I want to try this thing. Let's see how this works. How does the idea develop? The thing that makes, I don't know, your Macbeth different than other Macbeths?

Does the makeup of that ensemble, who's in it, what kind of ideas and physicality and everything that they bring, is that something that develops in conjunction with that ensemble? Or do you... as a director, show up with a concept. I want to try this thing. Let's see how this works. How does the idea develop? The thing that makes, I don't know, your Macbeth different than other Macbeths?

Does the makeup of that ensemble, who's in it, what kind of ideas and physicality and everything that they bring, is that something that develops in conjunction with that ensemble? Or do you... as a director, show up with a concept. I want to try this thing. Let's see how this works. How does the idea develop? The thing that makes, I don't know, your Macbeth different than other Macbeths?

We talked already about notions of sort of what is the popular or what is the sort of the broad audience. You mentioned earlier the Worcester Group, which is this downtown New York experimental avant-garde theater company. Another – I don't want to say benefit that they have, but – a particularity is the idea of a small audience that's coming for something that is self-consciously an experiment.

We talked already about notions of sort of what is the popular or what is the sort of the broad audience. You mentioned earlier the Worcester Group, which is this downtown New York experimental avant-garde theater company. Another – I don't want to say benefit that they have, but – a particularity is the idea of a small audience that's coming for something that is self-consciously an experiment.

We talked already about notions of sort of what is the popular or what is the sort of the broad audience. You mentioned earlier the Worcester Group, which is this downtown New York experimental avant-garde theater company. Another – I don't want to say benefit that they have, but – a particularity is the idea of a small audience that's coming for something that is self-consciously an experiment.

Yeah. And you working this stuff out on Broadway, which is a very different notion of what it means to be a director, a very different notion of audience, very different prerogatives. How does it feel to do all the things that you're talking about on Broadway, which is the broadest audience possible?