which consciously challenged the conventions and traditions of how classical drama is staged.
If his fame was only by association, it would be secure. Brook worked with John Gielgud, Frances de la Tour and Paul Scofield and Laurence Olivier. He guided Glenda Jackson, Ben Kingsley and Patrick Stewart early in their careers. Salvador Dali designed Brook’s Royal Opera House production of “Salomé.”
A more recent famous colleague is Tarell Alvin McCraney, who acted with Brook’s company before he became an award-winning playwright and the head of the playwriting department at the Yale School of Drama. McCraney has been a consultant on “The Prisoner.”
At the age of 93, Peter Brook refuses to rest on laurels, continuing to challenge himself, his dedicated collaborators and his audiences.
In a wide-ranging conversation recently at the apartment building where Brook is staying while “The Prisoner” is in New Haven, Brook held forth on theater and life. sitting there, discovering layers and layers of himself that you couldn’t discover. The great invisible. The great unknown.
“In this play, he is told early on ‘Nothing will prevent you if you just want to get up
“In ‘The Prisoner,’ the two warders come in and tell vulgar jokes. Humor is essential. It’s the great Shakespearean model.”
“In the audience, as they come into the theater, every head has preoccupations that are different from all the other people. The playwright or the director must
Legendary theater director Peter Brook.