Helen Shaw on the deceased theatre critic and producer Robert Brustein, who founded the Yale Repertory Theatre and the American Repertory Theatre.
Brustein held theatre to a high standard—one that was intellectual, visually audacious, international, explicitly noncommercial, and devoted to the now almost vanished model of a resident theatre company playing in a rotating repertory. One of his hallmark offerings at Harvard, for graduate students, was a class called Rep Ideal, in which he held forth on how a permanent company of actors could forge a bond between the institution and a community.
“With Robert being gone, the atmosphere is also gone,” Thompson told me. “It’s the end of an era, of all the potential that regional theatre had built up—and what it could be going forward.” I met Brustein as an undergraduate at Harvard in the mid-nineties, when the university was briefly reconsidering its relationship with the A.R.T. Brustein, who came to Cambridge in 1980, had installed his organization in the Loeb Drama Center, which the students had always rather assumed belonged to them.
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