Trip Cullman is one of the most prolific theater directors working today both on and off Broadway as well as in London and regionally. He also happens to be one of the most gifted. The theatrical magic he achieves with an ensemble cast is especially obvious for anyone lucky enough to visit Second Stages’ Helen Hayes Theater and witness the season’s most hilarious, most insightful comedy, Becky Shaw.
Despite his long list of amazing credits, accolades have been few, with no Tony recognition to date.
“This is actually a very vulnerable and painful thing to talk about,” Cullman honestly states, “Is it nice to have a nomination? 100% yes. Is it how I should measure my own sense of self-worth? Absolutely not. I am deeply proud of pretty much every single thing I’ve ever put out into the world. I’m very grateful that with Becky Shaw it seems to be really connecting with audiences and critics alike.”
And it has!
Gina Gionfriddo’s deliciously dark comedy was first produced at the 2008 Humana Festival, then opened off Broadway that same year to rave reviews and was a Pulitzer finalist. It feels even more ballsy today in our current climate of sensitivity.
Set in New York City, the play begins with psych student Suzanna (Lauren Patten) and money master Max (Alden Ehrenreich), both mid-30s, discussing the family’s current woeful financial situation in the wake of Suzanna’s father’s death. Max and Suzanna grew up together but are not blood relatives. The elegant yet caustic matriarch Susan (Linda Emond) arrives and is not happy about the state of affairs as she is now ‘keeping’ her housepainter boytoy. Susan leaves and Max and Susanna have sex.
Eight months later, Suzanna has married a loveable writer Andrew (The Pitt’s Patrick Ball), and both are prepping for a matchmaking evening where Max is being set up with the titular Becky Shaw (Madeline Brewer), a “delicate” temp in Andrew’s office. Andrew worries that the often-insensitive Max will scare her off. But Becky may not be as delicate as she appears to be.
For more about the show, read my REVIEW.
Cullman’s fearless directorial style where he manages to unearth hidden truths and allow terribly flawed (and aren’t we all) but fascinating characters to exist and thrive without judgment is a testament to his brilliance.
Raised in NYC, he began his career as an actor but quickly realized his true calling.
He has directed seven Broadway shows including last season’s incredibly underrated gem, Cult of Love (REVIEW) as well as The Rose Tattoo revival (2019), Choir Boy (2019), Lobby Hero (2018), the revival of Six Degrees of Separation (2017) and Significant Other (2017).
His oh-so-many off-Broadway credits include: Queens (2025), The Lonely Few (2025), We Had a World (2025)—REVIEW, I Can Get It for You Wholesale (2024), Unknown Soldier (2020), The Pain of My Belligerence (2019), Days of Rage (2018), I’m Gonna Pray for You So Hard (2015), Punk Rock (2014), Wild Animals You Should Know (2011), A Small Fire (2011), The Drunken City(2008), Some Men (2007), Dog Sees God (2005) and Last Sunday in June(2003), to name a few!
He is currently working on a musical version of Thelma & Louise that will bow at the Young Vic in London this September. The show will star Rachel Tucker and Amy Lennox, with an original score by Neko Case and a book by Oscar-winner Callie Khouri, based on her screenplay. It’s taken 10 years to reach the stage.
Cullman won a 2015 Obie award for Direction (Punk Rock). He received a 2025 Outer Critics Circle Award nomination for Outstanding Director of a Play (Cult of Love), a 2016 Ovation Award nomination for Director of a Play (Barcelona) and a 2011 Drama Desk nomination for Outstanding Director of a Play (A Small Fire).
Hopefully, his first Tony nomination is just around the corner.
The Contending had the pleasure of a video chat with Cullman about Becky Shaw and his eclectic career.
