A play about a man who gave up his comfortable life as an accountant in D.C. to spend thousands of nights seated in New York audiences and even more days at his computer to bring attention to notable, but often under-recognized artists. In doing so, he revolutionized arts coverage and helped to usher in the indie theater movement. If you created or saw NYC indie theater during the last 20 years, chances are you’ve been impacted by his work. This was performed at the Kraine Theatre in Manhattan in 2017. 

“Martin Denton, Martin Denton is about someone so great, they had to name him twice.” — Elisabeth Vincentelli, The New York Times

“The saga of a humdrum fellow who became a champion of off-off-Broadway theater…a nice story that offers audiences a sentimental journey through off-off-Broadway byways.” –Michael Sommers, Village Voice

 

“With only two actors on stage for the duration of the show, Martin and Rochelle seek not to just entertain with some wacky characters they encounter on their journey or charm you with the pure-heartedness of their own selves in the midst of a changing world, they also want to teach a very important lesson to all those in attendance. They want audiences to see that, although theater (and theaters) come and go and time moves on, an appreciation of theater is synonymous with an appreciation of life. From the actor to the playwright and finally the reviewer, all experience this art in a form that is not to be criticized or judged, but embraced as the telling of one’s personal journey – much like these two actors fearlessly do with this show….Martin Denton, Martin Denton is sure to captivate audiences with good, kooky laughs, bittersweet nostalgia and a gained appreciation of just how very important theater is to the structure of this world and the people in it.” –Kristen Morale, Broadway World

“Chris Harcum’s Martin Denton, Martin Denton is to indie theatre what James Lapine’s Act One was to Broadway; an enchanting tale of how one man’s deep love for the artform changed the landscape of its era. While Lapine’s adaptation of Moss Hart’s autobiography was a sober, traditional take on a man’s life, Harcum takes a zanier approach using elements of stand-up, Brechtian fourth wall breaking, and buddy comedy, to create an impressionistic portrait.” –Jose Solis, Talkin’ Broadway