Bessie Award-winning Dancer & Choreographer · Chair of Dance, NYU Tisch School of the Arts
Founder Seán Curran Company
In terms of history, the humanities show us how we were, why we were, and while we were...But then I also think about the future. What are we doing now? What seeds are we planting to inform the future?...And I said it earlier about making sense out of a chaotic universe where bad things happen to good people. Arts will help you figure that out.
Bessie Award-winning Dancer & Choreographer · Chair of Dance, NYU Tisch School of the Arts
Founder Seán Curran Company
In terms of history, the humanities show was how we were, why we were, and while we were...But then I also think about the future. You know. What are we doing now? What seeds are we planting to inform the future...And I said it earlier about making sense out of a chaotic universe where bad things happen to good people. Arts will help you figure that out.
Author of Living Queer History · Assoc. Professor of History, Roanoke College
Co-founder of the Southwest Virginia LGBTQ+ History Project
One of the things I really tried to get across in Living Queer History, and particularly in my chapter called “The Whiteness of Queerness” is to first make clear that LGBTQ histories have long been informed by white supremacy. It's kind of the unspoken thing that people don't want to talk about. It’s true all over the country. And so what I’ve started to think about is that often LGBTQ spaces are just unthinkingly white because there's a racial blindness, a racial myopia where folks are not thinking about the fact of how racial dominance is playing into that space. Or how racial dominance is playing into the way we tell stories about LGBTQ belonging.
Photographer
I always tell people the worst picture can ever take is one you don't take. And that is a simple philosophy. If you don't go out there and do the work, then you will never know. You may think there's going to be another great snowstorm. You might think there's going to be another great moment where a block is going to have a certain kind of rhythm or a culture is going to have a certain amount of innocence or a musician is going to be as reluctant or vulnerable or sympathetic. You just have to embrace the moment and do the work.
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.
Award-Winning Writer, Producer & Co-founder of Third Wave Fund
The idea of writing memoir is about listening carefully. The way to find a story or, at least the story that needs to be told is that moment that you’re writing is the emerges from a deep kind of inner listening and finding the memories that are charged that don’t want to leave that have a certain kind of energy to them and, if you listen to them, and you allow them to be born in the writing, you discover your own story because your story is basically made up of all the memories that continue to hold the charge for you. All the memories that are lodged in your mind that you’ve secreted away and when you can excavate that story and you can write it down, then you can make sense of it and you can understand why you’re living the way you’re living and why you feel the way you feel. And you can also decide to to release those memories so that you can have new memories that can define and can shape your life.
Award-Winning Writer, Producer & Co-founder of Third Wave Fund
The idea of writing memoir is about listening carefully. The way to find a story or, at least the story that needs to be told is that moment that you’re writing is the emerges from a deep kind of inner listening and finding the memories that are charged that don’t want to leave that have a certain kind of energy to them and, if you listen to them, and you allow them to be born in the writing, you discover your own story because your story is basically made up of all the memories that continue to hold the charge for you. All the memories that are lodged in your mind that you’ve secreted away and when you can excavate that story and you can write it down, then you can make sense of it and you can understand why you’re living the way you’re living and why you feel the way you feel. And you can also decide to to release those memories so that you can have new memories that can define and can shape your life.
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.
