BRANTLEY For me, that happened at the Almeida Theater in London, in James Graham’s “Ink,” a play in which Trump’s name wasn’t mentioned. It was about Trump’s buddy Rupert Murdoch, the Australian media czar, in his first years in London in the late ‘60s, when he revitalized The Sun. And at a certain point, I realized that Murdoch’s populist press created the social media landscape that made Trump possible.

GREEN The further away from the chaotic, unknowable figure of Trump a play got, the better — that is, the more successfully political — it was. In the drama “While I Was Waiting,” about the destruction of Damascus during Syria’s civil war, the political was never absent but rather hovered ghostlike around a domestic story. And “Master,” about the legacy of “Huckleberry Finn” for black artists, reframed my thinking about racism more than anything that aimed at that subject directly.

What about that “Julius Caesar”? With a little distance, how do you think the production holds up?

BRANTLEY The best part of that “Julius Caesar” was what happened after the initial crowd-baiting presentation of Caesar as Trump. Oskar Eustis, the director, did a good job of keeping the show tight and fleet-footed, and suddenly — as Alexis pointed out — if you were paying attention, what had seemed like a hoot suddenly became a sobering admonition.

GREEN Scheduling and producing the play that way was a master stroke of judging the New York moment. But it’s not a template going forward. Artists and producers are going to have to figure out how to engage Trumpism without being merely opportunistic. Last weekend I saw a one-man show called “Trump Lear” in a flyspecked grotty grotto of a theater on St. Marks Place. In the show, “Trump” interrogates the author, David Carl, a Trump impersonator, about the value of his work. It’s quite damning. “You do over 100 impressions Carl,” he says. “You could have done a show about anyone, and you picked me for one simple reason. I put butts in seats Carl … I have employed you, and thousands of artists like you, and you should all be thanking me!”

SOLOSKI Should we? I dunno. And it’s not like white male actors were the ones hurting for work pre-Trump. I’ve noticed that nearly all of the responses have been by white men and in some ways for white men. Of course I’m curious about what Tony Kushner will do with all of this. David Hare, too. But what about Suzan-Lori Parks or Dominique Morisseau or Robert O’Hara or Ayad Akhtar? We haven’t yet been hearing from artists who are part of the communities Trump is working against.