When a revival of Robert Bolt’s marvelous play “A Man for All Seasons” opened on Broadway last October, the New York Times critic Ben Brantley, usually reliable for intelligent insights into theater and serious reflection on dramatic themes, wrote a strange review. Brantley seemed

When a revival of Robert Bolt’s marvelous play “A Man for All Seasons” opened on Broadway last October, the New York Times critic Ben Brantley, usually reliable for intelligent insights into theater and serious reflection on dramatic themes, wrote a strange review. Brantley seemed

When a revival of Robert Bolt’s marvelous play “A Man for All Seasons” opened on Broadway last October, the New York Times critic Ben Brantley, usually reliable for intelligent insights into theater and serious reflection on dramatic themes, wrote a strange review. Brantley seemed

When a revival of Robert Bolt’s marvelous play “A Man for All Seasons” opened on Broadway last October, the New York Times critic Ben Brantley, usually reliable for intelligent insights into theater and serious reflection on dramatic themes, wrote a strange review. Brantley seemed