Playwright Quotes

1985 - That was my time in New York, and I have such poetic, fond memories.
A lot of '20s musicals were a hodgepodge of melodrama, mixed with operetta and romance, and then some sense of modernism and some sense of irreverence.
A lot of directors tend to manipulate actors' vulnerability to get what they want, and that can work.
A music serves truth up to you in a really interesting way that allows you to luxuriate in its beauty and, at the same time, to hopefully see yourself in its fragility.
A musical is what happens when text collides with motion collides with song collides with spectacle. And spectacle can be the human heart; it doesn't necessarily have to be a helicopter crashing.
AIDS is a shared truth - it's not selective in its wrath.
All the things that can happen to an artist regardless of how prepared they are and how smart they are and hard-working they are and attractive - doesn't matter. There's always somebody cuter. There just is.
Always, when I do a play, there's got to be an equation of risks and potential failure. When you're working on a new play, it's like, 'How the hell do I do this, and do we have the time?' All of these huge questions engage, hopefully, the smartest part of me. And then when you're doing a revival, I went, 'Well, somebody's already solved it.'
Anytime you create art, you create a mess. I mean, 'Hamlet' is a mess!
As a person of color, I was trained from very early on to see 'Leave It to Beaver,' 'Gilligan's Island,' or 'Hamlet' and look beyond the specifics of it - whether it be silly white people on an island or a family living in Nowheres or a Danish person - to leap past the specifics and find the human truths that have to do with me.
At the end of the day, 'Shuffle Along' is about people coming together and making something extraordinary - and history not necessarily being kind to them. It's about the love of necessarily being kind to them. It's about the love of doing, regardless of the consequences.
Broadway was very vital back in the '20s. There were probably close to hundreds of productions that opened up through the course of the year and through the course of a Broadway season.
Certain events make people come out of their little boxes and become part of the whole.
Certain things come to me; I just become intrigued by them and want to live inside them.
Commercial theater, in its agenda to appeal to everybody, is often at the expense of the unique vision of the artist.
Confidence comes in going on personal journeys in a public arena and feeling as though you have a right to do that. You have to give yourself permission to discover what you need to discover and not worry about how pretty the journey is. If you're aware of the pretty, you're not going to dig into the mess.
Doing any kind of culture in America in which you are not trying to affirm a European aesthetic is war.
Each actor, every single time you work with an actor, you have to come up with the language that's going to serve them. And that's what allows them to give the performance that you want to nurture inside of them and what you think they're capable of giving.
Every play is rhythmic control. If you want an audience to go on a journey, it's rhythmic control. You're crafting when they lean in, when they push back, when they breathe, when they surrender.
Every single wave, when I was overwhelmed and poor and struggling in New York, there were these extraordinary people in New York who said, 'Come this way.'
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Total Records : 1839

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