Interview Highlights
Days are filled with things that happen. And you have to sort of determine whether you're going to make choices for things to happen or just react to things that are happening around you. And why not choose to go do things. You're not going to see art unless you go to the museum.
Pulitzer Prize-winning Poet
Author of The Tradition & The New Testament
I just want to make the poems like a living being…There are moments that I’m not at the desk, but I’m living life. And living life is actually what leads to writing. You have to have experiences to write about. Whether or not you are aware of those experiences as you are writing them down because if you’re doing music first, maybe you’re not aware of what you’re writing. And yet, those experiences are what come to fruition in your writing. You become aware. Oh, I did come on that roller coaster that time that I haven’t thought about in twenty years. Oh I did make love to that cute person that I haven’t thought about in ten years, but you’ve got to make love, you’ve got to get on roller coasters, you’ve got to get your heart broken. You’ve got to dance. You gotta get out and do things and that, too, is a part of writing. You have to trust you’re a writer by identity. And if you can trust that you’re a writer by identity, then you don’t have to be at a desk.
Pulitzer Prize-winning Poet
Author of The Tradition & The New Testament
I just want to make the poems like a living being…There are moments that I’m not at the desk, but I’m living life. And living life is actually what leads to writing. You have to have experiences to write about. Whether or not you are aware of those experiences as you are writing them down because if you’re doing music first, maybe you’re not aware of what you’re writing. And yet, those experiences are what come to fruition in your writing. You become aware. Oh, I did come on that roller coaster that time that I haven’t thought about in twenty years. Oh I did make love to that cute person that I haven’t thought about in ten years, but you’ve got to make love, you’ve got to get on roller coasters, you’ve got to get your heart broken. You’ve got to dance. You gotta get out and do things and that, too, is a part of writing. You have to trust you’re a writer by identity. And if you can trust that you’re a writer by identity, then you don’t have to be at a desk.
Singer · Author
1st African American Actor on Children’s TV · Officer Clemmons on Mister Rogers’ Neighborhood
I always find it an ironic thing to think about the fact that Fred Rogers was colour-blind. He could barely tell a blue from a grey. I was young and to him I was a child and I certainly played the role of a child and he played the role of parent… He was profoundly patient.
Singer · Author
1st African American Actor on Children’s TV · Officer Clemmons on Mister Rogers’ Neighborhood
I always find it an ironic thing to think about the fact that Fred Rogers was colour-blind. He could barely tell a blue from a grey. I was young and to him I was a child and I certainly played the role of a child and he played the role of parent… He was profoundly patient.
Actor and Director
If you are thinking about too much, you're probably not doing it right. Some nights you do it and you're just like, that just felt like it was ten minutes long and I just was on cloud nine. What was I doing? A great, great American actor George C. Scott had a great quote once, he said, "Every actor worth their salt has one good show a week and spends those other seven shows wondering what they did that made them so good that night." And nobody knows. If you could figure that out and if you could bottle that then, of course, everybody could do it.
Actor and Director
I've been so fortunate to work with such great actors over the years. Laura Linney, Joe Mantello and the entire company of The Normal Heart, Nathan Lane, who I consider one of my great educators. He was a real mentor to me. He was such a professional and he was so devoted to the character and worked tirelessly to make the character in the show as good as it could possibly be. Nathan never ever did it sitting down. He's always full steam ahead and there was a great lesson in that for me to watch somebody's work ethic. It taught me my work ethic.
Playwright & President of the Dramatists Guild of America
I think we have to look to find the voices of women and marginalized people because sometimes it's the most disenfranchised people in the culture that are the most articulate about it and most aware of the innate injustice in certain social systems. So I think we really have examine our canon and broaden and deepen it to include more voices.
Tony Award-Winning Singer, Actor and Star of Chicago, the longest-running American Musical in Broadway History
All the themes are very contemporary. I think what moves this story is the search for instantaneous celebrity. That’s what the girls are all about, Roxie and Velma. They want to be famous. Of course everything that you cited, corruption, crimes, the press focusing on sensational stories–it’s all there. And I think that’s why the public relates so much to it.
Tony Award-Winning Singer, Actor and Star of Chicago, the longest-running American Musical in Broadway History
All the themes are very contemporary. I think what moves this story is the search for instantaneous celebrity. That’s what the girls are all about, Roxie and Velma. They want to be famous. Of course everything that you cited, corruption, crimes, the press focusing on sensational stories–it’s all there. And I think that’s why the public relates so much to it.
