Independent Arts News Reporting 
Pictured Above: Patrick Bringley. Photo Credit: Joan Marcus.
A Conversation with Patrick Bringley: From NYT Bestseller to Theatrical Debut
By Mandee K. Hammerstein for Arts News Now
Mandee K. Hammerstein interviews New York Times best-selling author, now playwright and performer, Patrick Bringley, about his deeply personal memoir turned theatrical production, All the Beauty in the World. During this candid conversation, Bringley reflects on his years working as a guard at the Metropolitan Museum of Art, the process of writing his debut book, and what it’s like stepping onto the stage to bring this unique story to life.
At the DR2 Theatre in Manhattan, audience members lean in, captivated. Patrick Bringley stands alone under soft lights, but he’s far from solitary. The implied gallery walls of The Met seem to shimmer behind him, summoned through words, memory, and a quietly commanding presence. This is All the Beauty in the World — a one-man play based on Bringley’s New York Times bestselling memoir of the same name — and it’s extending its celebrated New York run through May 25.
Adapted for the stage and performed by Bringley himself, the production tells the story of an young writer who walked away from an esteemed position at The New Yorker to then become a security guard at the Metropolitan Museum of Art — a choice rooted in profound personal loss after the death of his young but older brother. What follows is a deeply reflective, surprisingly humorous, and ultimately life-affirming exploration of art, grief, time, and quiet transformation. The stage, spare yet evocative, becomes a sanctuary — much like the museum once was for Bringley during his ten-year tenure as a guard.
Pictured Above: Patrick Bringley. Photo Credit: Joan Marcus.
The book’s journey to publication—and ultimately to the stage—is nearly as poetic as the writing itself. After sending out dozens of query letters with limited response, Bringley’s manuscript caught the attention of literary agent Farley Chase, founder of Chase Literary Agency in New York. With Chase’s support, Bringley landed a publishing deal and advance with Simon & Schuster, allowing him to complete what would become All the Beauty in the World. The next chapter unfolded at the Charleston Literary Festival, where Bringley was invited to speak. There, he met and connected with acclaimed director Dominic Dromgoole, former Artistic Director of Shakespeare’s Globe in London. “It was a half-baked idea,” Bringley shared during our interview, “but Charleston took a leap of faith, and Dominic brought the vision to life,” as he referred to his World Premiere, that also launched in Charleston.
Together, they shaped the theatrical version not as a static book reading but as a living, breathing performance — complete with luminous visual projections that simulate the experience of standing before great works of art. The resulting 75-minute piece is both intimate and expansive, offering a kind of time-travel through the world’s masterpieces and the artist-guard’s interior journey.
“There’s something natural about a one-man show focused on a lone figure like a security guard,” Bringley reflects. “Theater and galleries both create sacred spaces. I thought — what if I could blend the two?”
It’s a question that has resonated powerfully with audiences. At the performance I attended, the theater was packed, the energy palpable. Afterward, fans waited eagerly in the lobby for a chance to have their books signed — art teachers, literature lovers, and museum regulars, all drawn by Bringley’s thoughtful lens on art and life.
Pictured Above: Patrick Bringley. Photo Credit: Joan Marcus.
One standout moment in both the book and the performance centers on Pieter Bruegel the Elder’s The Harvesters. Bringley describes the painting with reverence: “You look at it and think — what else is there to life except breaking bread with your friends beneath a pear tree, while a vast world unfurls around you?”
Such reflections are more than art critiques — they’re meditations on being. As Bringley says in the play, his time as a guard allowed him to “feast” on beauty, to be still and think. “You’re not being pulled forward by the nose,” he says. “You’re just there.”
For Bringley, the transition from museum floor to stage wasn’t an obvious one. Although observing his art-loving mother perform in theater from the time he could remember, personally, he had never acted before but discovered a love for public speaking during his book tour. That experience gave him the confidence to try something new — and in doing so, he’s created something rare: a production that is equal parts personal narrative, art history, relatable, and emotional salve.
Pictured Above: Patrick Bringley and patrons at the Metropolitan Museum of Art. Photo Credit: Contributed.
Even while his show continues in New York, Bringley is already thinking about what’s next — including another nonfiction book and more talks at museums across the country. As for whether the play will travel, or whether others will someday play “Patrick,” the door is open. “It’s not something I’ll do forever,” (he says about performing) with a smile. “But it’s been a joy to share.”
And share he has. With tenderness, humility, and a deep respect for the works that once also stood watch over him, Bringley has extended their life — not only through his writing, but in this intimate, immersive theatrical production. In doing so, he reminds us that beauty — even in the quietest of corners — can still change a life.
Tickets for remaining performances are available at: AlltheBeautyintheWorldPlay.com
Pictured Above: Show poster for All The Beauty In The World. Photo Credit: Contributed.
