Vincent Cunningham

This is a long way of asking what it was like working with Jeremy Strong, who appears in one of the great stories of our time, Succession, when you worked with him on Enemy of the People. You know, you work with somebody that, like, comes from a world of reference. Like, this is the guy who played Kendall Roy. Is that something that I'm using with this person?

This is a long way of asking what it was like working with Jeremy Strong, who appears in one of the great stories of our time, Succession, when you worked with him on Enemy of the People. You know, you work with somebody that, like, comes from a world of reference. Like, this is the guy who played Kendall Roy. Is that something that I'm using with this person?

This is a long way of asking what it was like working with Jeremy Strong, who appears in one of the great stories of our time, Succession, when you worked with him on Enemy of the People. You know, you work with somebody that, like, comes from a world of reference. Like, this is the guy who played Kendall Roy. Is that something that I'm using with this person?

Is it something that I'm trying to strip away?

Is it something that I'm trying to strip away?

Is it something that I'm trying to strip away?

Yeah, no, I was thinking about this as I watched, again, in an amazing way, those young people who were at Romeo and Juliet at the end, just, like, swarming the exits, waiting to receive Rachel and Kit. And I wondered, what came into my mind is, you know, whether there is any difference, whether there needs to be any difference, um...

Yeah, no, I was thinking about this as I watched, again, in an amazing way, those young people who were at Romeo and Juliet at the end, just, like, swarming the exits, waiting to receive Rachel and Kit. And I wondered, what came into my mind is, you know, whether there is any difference, whether there needs to be any difference, um...

Yeah, no, I was thinking about this as I watched, again, in an amazing way, those young people who were at Romeo and Juliet at the end, just, like, swarming the exits, waiting to receive Rachel and Kit. And I wondered, what came into my mind is, you know, whether there is any difference, whether there needs to be any difference, um...

between sort of the function of the audience as we classically understand it in theater and the new word that we have, which is like fandom. And whether that at all is something that sort of is in the fringes of your consciousness as you make your work. I mean, I don't think it's new at all. True.

between sort of the function of the audience as we classically understand it in theater and the new word that we have, which is like fandom. And whether that at all is something that sort of is in the fringes of your consciousness as you make your work. I mean, I don't think it's new at all. True.

between sort of the function of the audience as we classically understand it in theater and the new word that we have, which is like fandom. And whether that at all is something that sort of is in the fringes of your consciousness as you make your work. I mean, I don't think it's new at all. True.

Well, Sam, thank you so much for these interpretations, this work, and for talking to us. This is great. Thank you so much. Thank you. That's the director, Sam Gold, talking about the latest revival of Romeo and Juliet, which is now playing on Broadway at the Circle in the Square Theater. And that's The New Yorker Radio Hour for today. I'm Vincent Cunningham, a staff writer at The New Yorker.

Well, Sam, thank you so much for these interpretations, this work, and for talking to us. This is great. Thank you so much. Thank you. That's the director, Sam Gold, talking about the latest revival of Romeo and Juliet, which is now playing on Broadway at the Circle in the Square Theater. And that's The New Yorker Radio Hour for today. I'm Vincent Cunningham, a staff writer at The New Yorker.

Well, Sam, thank you so much for these interpretations, this work, and for talking to us. This is great. Thank you so much. Thank you. That's the director, Sam Gold, talking about the latest revival of Romeo and Juliet, which is now playing on Broadway at the Circle in the Square Theater. And that's The New Yorker Radio Hour for today. I'm Vincent Cunningham, a staff writer at The New Yorker.

And, by the way, I'm also one of the co-hosts of The New Yorker's weekly culture podcast, Critics at Large. New episodes drop every Thursday. David Remnick will be back on Friday. Thanks for listening.

And, by the way, I'm also one of the co-hosts of The New Yorker's weekly culture podcast, Critics at Large. New episodes drop every Thursday. David Remnick will be back on Friday. Thanks for listening.

And, by the way, I'm also one of the co-hosts of The New Yorker's weekly culture podcast, Critics at Large. New episodes drop every Thursday. David Remnick will be back on Friday. Thanks for listening.