Vincent Cunningham

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?

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?

Just because they're not wearing the frills or whatever does not mean that you have therefore sort of desecrated the play.

Just because they're not wearing the frills or whatever does not mean that you have therefore sort of desecrated the play.

Just because they're not wearing the frills or whatever does not mean that you have therefore sort of desecrated the play.

that production was born in the mind of Ibsen. Exactly.

that production was born in the mind of Ibsen. Exactly.

that production was born in the mind of Ibsen. Exactly.

That's the director, Sam Gold, talking about the new Broadway production of Romeo and Juliet. We'll be right back in a moment.

That's the director, Sam Gold, talking about the new Broadway production of Romeo and Juliet. We'll be right back in a moment.

That's the director, Sam Gold, talking about the new Broadway production of Romeo and Juliet. We'll be right back in a moment.

I'm Vincent Cunningham, a staff writer here at The New Yorker, and I've been talking with the director, Sam Gold, about this latest new production of Romeo and Juliet. We'll continue our conversation now. Does staging something in the round change your whole conception visually as a director? I've always wondered, yeah.

I'm Vincent Cunningham, a staff writer here at The New Yorker, and I've been talking with the director, Sam Gold, about this latest new production of Romeo and Juliet. We'll continue our conversation now. Does staging something in the round change your whole conception visually as a director? I've always wondered, yeah.

I'm Vincent Cunningham, a staff writer here at The New Yorker, and I've been talking with the director, Sam Gold, about this latest new production of Romeo and Juliet. We'll continue our conversation now. Does staging something in the round change your whole conception visually as a director? I've always wondered, yeah.

People are increasingly engrossed in screens. Obviously, film precedes all the problems we think about with smartphones and everything, but what is the primary relationship between what you do and what shows up on screens in terms of TV and film?

People are increasingly engrossed in screens. Obviously, film precedes all the problems we think about with smartphones and everything, but what is the primary relationship between what you do and what shows up on screens in terms of TV and film?

People are increasingly engrossed in screens. Obviously, film precedes all the problems we think about with smartphones and everything, but what is the primary relationship between what you do and what shows up on screens in terms of TV and film?

You know, one thing that Shakespeare has in common with this is not something that I was ever primed to think about, that Shakespeare has in common with Quentin Tarantino is that they are both adept at using the stories of their time.

You know, one thing that Shakespeare has in common with this is not something that I was ever primed to think about, that Shakespeare has in common with Quentin Tarantino is that they are both adept at using the stories of their time.

You know, one thing that Shakespeare has in common with this is not something that I was ever primed to think about, that Shakespeare has in common with Quentin Tarantino is that they are both adept at using the stories of their time.