Trap Door credits
- Ensemble / 25/25
- Arturo Ui / The Resistible Rise of Arturo Ui
- Hamlet / Hamletmachine
- Ensemble / The Word Progress On My Mother’s Lips Doesn’t Ring True
- Franz Kilb / They Are Dying Out
- Ensemble / The Arsonists
- Nietzsche / Chaste
Antonio Brunetti (he/him/his) became a Trap Door company member in the spring of 2010. He was born, raised and educated in Chicago and returned to the city in 2008 after a few years working in Europe. He trained in Germany under the tutelage of Julian Knab, a pupil of Jerzy Grotowski.
Antonio Brunetti captivates the audience with an intense, highly physical performance, leaping across the many levels of Mike Mroch’s set. Sometimes Brunetti is gleeful and comedic, other times volatile and terrifying. Even as the fly, it is hard to look away from Brunetti as he drenches the space with his raw, passionate performance.
Stage and Cinema
Antonio Brunetti and Casey Chapman are particularly astonishing as the winged tramp and a child.
Tramp, social commentator and literal fly-on-the-wall Antonio Brunetti dissects marriages, class hierarchies and social contracts from the fringe of his blissfully ignorant, well-to-do fellow townsfolk…
TIme Out Chicago
…the ensemble includes fine absurdist turns…Antonio Brunetti brings terrier-like tenacity to striving and doomed stockholder Kilb…
…bullying boss Hermann Quitt revels as his subordinates (including standout Antonio Brunetti, a sycophantic Pan) debase themselves and jockey for position.
Time Out Chicago
Each character is richly and wildly hyper-realized. The ensemble is nothing short of staggering. The performances are hypnotic and well worth rushing to experience. Antonio Brunetti’s desperation as Franz Kilb drives the exposition with humor and intensity…
Chicago Stage Review
…and Kasey Foster and Antonio Brunetti distinguish themselves with their physical work as a female industrialist and a would-be corporate watchdog, respectively.
Brunetti is a scene stealer with his Salvador Dali-like facial expressions. Even when sequestered from action on another part of the stage, you can’t but help to look his way. No doubt the role of Nietzsche must have been a fun character to assume, and it is obvious that Brunetti revels in doing it.
Chicago Theatre Beat
With eyes bulging and wild gestures, Brunetti masterfully portrays writers block as woody.
Katy Walsh, The Fourth Walsh
Brunetti’s crazed, often infantile and wildly neurotic Nietzsche is both wonderfully crazed and ultimately touching.