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Ben Lorenz

About me

Ben Lorenz has performed in NYC at the Flea, Dixon Place, Ars Nova, in a Greenpoint rectory and a wooden spaceship. Favorites include: Three Tall Women (Broadway: Joe Mantello), Adam in A.R. Gurney's Ajax (NYT Critics' Pick), Katurian in The Pillowman, Graham in Cleansed, Alan in Play it Again, Sam, Marty (and later Anthony) in House of Yes, Father in Eurydice, and Haimon in Antigonick. On screen, he's gone from cowboy to astronaut, and from mobster to magician. He studied literature at Harvard, trained at Atlantic, and spent a year teaching Shakespeare to the Brits at Eton. Ben is represented at DBA and by Jesse Young at Vanguard. Check out Projects to see what Ben's been getting up to recently!

Get in Touch

Because we're better together, no man is an island, etc. Contact me through my agent or manager, below, or directly at ben.james.lorenz@gmail.com.

Managed by Jesse Young at Vanguard
220 5th Ave, PH West, NYC
jesse@vanguard-management.com
212.544.7700

Don Buchwald & Associates | 10 E 44th NYC 10017
cthompson@buchwald.com | 212.867.1200

Testimonials

“Olivia Jampol and Ben Lorenz were charm personified as Meg and Adam...”

— David Barbour, on NYT Critic's Pick "AJAX"

“Sarah Gancher’s tale of Budapest youths searching for cultural identity [The Place We Built] is a smart and nuanced exploration of Eastern European political upheaval and Jewish tradition. Crafted with authenticity and heart, The Flea continues to prove that their company showcases one of the most consistently talented group of theatre artists today.”

— NY Theatre Review

“Lorenz delivers a studied, subtle performance whose energy waxes and wanes along with Katurian’s spirit, which now flags in despair, now flares up in anger. Some of the play’s most affecting moments occur in exchanges between Lorenz and Cressler, whose fraternal bond is utterly convincing. ”

— Harvard Crimson, on "The Pillowman"

“The good guys were well-developed characters, but it was really the men in suits who stood out. Ben Lorenz made the act of dying from a stomach wound into an art; with no film tricks to rely on, he did an admirable job of conveying unbearable pain—for almost an hour. ”

— As Mr. Orange in a stage adaptation of Tarantino's Reservoir Dogs