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Ben Lorenz

About me

Ben Lorenz has performed all over NYC, from a Greenpoint rectory to a wooden spaceship. Favorites include: Three Tall Women (Broadway: Joe Mantello), premieres of A.R. Gurney's Ajax (NYT Critics' Pick) and Sarah Gancher’s The Place We Built (The Flea, Danya Taymor), Bittergreens (59E59), Breeders (Dixon Place), 1969: The Second Man (Ars Nova). He’s also played 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, with major guest star roles on Chicago Med and FBI — as detailed on IMDB. He studied literature at Harvard, trained at Atlantic, and spent a year teaching Shakespeare to the Brits at Eton. Ben is represented by Vanguard and is a proud member of Actor’s Equity and SAG-AFTRA. He also writes poetry, and his first chapbook is available from Bottlecap Press. 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 manager, below, or directly at ben.james.lorenz@gmail.com.

Managed by Michela Pantano at Vanguard
michela@vanguard-management.com
570.332.5904

Reviews

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

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

“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

“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"