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(It incorporated the Joe Biden Halloween Outfit Top, and I adore the fact that it featured such immediately legendary instances like Meryl Streep, Audra McDonald, and Christine Baranski sipping beverages in their bathrobes as they crooned “The Ladies Who Lunch.”) Other notable events during that dreary period include the magician Helder Guimarães’s The Present, which astonishingly managed to bring an intimate feel to Zoom, and I Am Sending You the Sacred Face, Heather Christian’s opera on Mother Teresa. However, the most complete and promising piece of virtual theater was Michael Breslin and Patrick Foley’s Circle Jerk, which, though originally a stage play, seemed crafted for and inspired by the internet. It is a satirical exploration of white supremacy, drawing from various influences, from the rapid transformation prowess of Charles Ludlam’s Ridiculous Theatrical Company to TikTok.

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“We were raised on dial-up internet, and we’re sort of scattered in the things we enjoy,” Breslin comments with a chuckle. Created by playwright Jeremy O. Harris, who expanded his résumé to include “generous online theater impresario” during the COVID-19 crisis, Circle Jerk ended up as a contender for the 2021 Pulitzer Prize for Drama. While Breslin and Foley intend to keep delving into online theater’s potential, they are eager to stage Circle Jerk live this season. “I believe there’s a physical world version of the performance that is even more bizarre and perplexing,” Foley comments. “We relish when part of the audience is amused while the other part is dismayed or unsure if they should shed tears.”