Top 68 Quotes & Sayings by Stephen Karam
Explore popular quotes and sayings by an American playwright Stephen Karam.
Last updated on September 17, 2024.
'The Cherry Orchard' is a masterpiece, and there can never be too many adaptations.
I was talking to so many teenagers for so long that I started to feel like, 'I have my own story I want to tell, and I need to do it soon.' So I started to store away pieces that eventually became 'Speech & Debate.' I felt this burning need to write it while I still had not only all of the ideas but the passion to do it.
The human condition is endlessly fascinating to me, and the existential horrors of life are what drive our imaginations and theater in general.
If there's ever a moment when I am an Anglophile, it's when I see so many theatres in this country that have what I would call federal funding.
With 'The Humans,' I've found that because it's related to very familiar forms - the family play and the thriller, almost a genre-collison play - some people want it to be one or the other. Either less dark and more of a family comedy or a full-fledged thriller with blood and ghosts jumping out of closets. Everyone's taste is different.
'Sons of the Prophet' is a dark comedy about human suffering. The play explores the particularly messy portions of life - the times where you find yourself coping with multiple life issues, and before any of them can be resolved, two more show up on your plate. We've all been there, I'd wager.
Until I have a family or a mortgage, I'm trying to keep my lifestyle simple and my apartment affordable so that I can continue to focus on theater. That's as good as it gets for me.
Traditionally, I like to watch my plays from the very back.
The best thing about being nominated in a category like best new play is realizing there were enough new plays to make a category.
I like going absurd pretty quickly. You don't waste any time when you're doing theater of the ridiculous.
If you fail on your own terms, that's a pretty good way to go down.
I had spent four months in Cedar City, Utah, right after graduation as an intern at the Utah Shakespearean Festival. It's a town that has many people living the polygamous lifestyle.
I was the worst-dressed person in Scranton. I was a total nerd. Obviously, I got picked on, but I was also able to find my own cluster of friends, and I think when that happens, you get by just fine.
I didn't quite fit in in any particular, specific way. I was a gay teenager who was into drama.
I was not exposed to a lot of culture. The shows we saw in high school, like 'Phantom of the Opera' and 'Miss Saigon,' were thrilling. But my love affair with theater started with seeing a production of 'Little Shop of Horrors' that my sister was in.
Without a conscious effort, all of my plays have all featured gay characters. I'm proud of that.
I worry that I will lose control over the projects I get to work on.
To be totally honest, I thought I would have a Broadway debut in the distant, distant future, maybe in my 60s or 70s when somebody revived one of my off-Broadway plays with a star.
That the best piece of art a person is capable of making is the one that only they could create.
Everyone will always have ideas about how to make your work better. Everyone has advice about how to end your play differently. Start it differently. And it's not about right or wrong. At the end of the day, it's your baby, and you know what's best.
I think 'Speech & Debate' surprised people because it's a play about teenagers that took the teenagers very seriously. They are very real. People wanted to see if they identified with one of the kids, that loneliness, that yearning for something bigger. That feeling of being stuck, it's very adolescent, but those kinds of feelings linger on.
Writing a play to get to Broadway and have a national tour is a sure way to write a terrible, terrible play.
All of my plays are deeply autobiographical. But it's not straight autobiography.
Because I didn't go to graduate school or have mentorship out of college, meeting other playwrights and developing those friendships as a result of being a 'grown up' playwright - that's become an essential community for me. My contemporaries are all my mentors whether they know it or not.
I don't come from a family of artists.
Chekhov would have been an excellent screenwriter. He is singularly good at dipping in and out of a group of people's lives, like Robert Altman did.
The older I get, the more appreciative I am of where I came from.
I think the best directors aren't afraid to ask questions.
To me, 'Glee' is totally fantastic.
I don't know how to produce work if it's not something that's deeply scaring me or troubling me.
I like creating the illusion that suddenly I've just done five things at once.
My own journey as a writer has been the discovery of different theatrical voices. Chekhov was a revelation. Tennessee Williams was another one. We read 'The Glass Menagerie' in high school, and I still remember the cover.
I've always viewed 'Sons of the Prophet' as the first part of a larger trilogy - not three plays dependent on each other but three stand-alone plays connected by theme and, likely, further adventures of the Douaihy family.
Coming home for me isn't, like, one family dinner. It's about am I gonna see 50 relatives, or am I gonna see 85?
Sometimes you realize you don't give people in your hometown enough credit.
I definitely prefer to write under my own volition and see what happens.
I think it's scary to be alive, but also exhilarating and joyful.
Good actors can tell you more about your play than 1,000 hours alone at your desk.
To see professional actors do my work, to take it seriously - that was the thing that made me think playwriting could actually be what I do. It's not a profession that has some sort of clear career track, like, 'This is what you do to be a playwright.'
I don't go into rehearsal for a production unless I've figured everything out.
In terms of smaller changes over time, I think good plays are like poems. Every syllable counts. So I wrestle with word choice, rhythm in final drafts.
'Columbinus' was four years of my life, collaborating with a lot of people and gathering lots of information.
I was sending off my plays almost like an 8-year-old would send letters to Santa Claus. So it was a bit of a miracle when the Blank Theatre Company actually called and selected a terrible little play that I wrote.
In writing 'The Humans,' I obsessed over the financial district and the architecture.
I hope to be known as a writer who told the truth.
I think being gay has resulted in gay characters standing front and center in all of my work.
I'm drawn to writers with skill sets I don't have.
When you're the artsy, weirdo, introverted outsider growing up, you don't fit into your community.
I think that I'm going to write a bigger thing, and then I end up writing about people, and the bigger thing recedes into the background, and hope that it's still there.
I don't think I could write a good play if I was setting out to write about the death of the American middle class.
I lived in a basement duplex on 96th Street on the Upper West Side.
To be honest, it's more fun being the underdog.
Under Todd Haimes' leadership, Roundabout created a black-box theater whose sole mission was to house premieres by writers who are just starting out and have zero name recognition.
Janet Carroll and Robert Pine, Chris Pine's dad, were in my first play, and they were so astonishingly good, I felt it raised my game instantly.
The best work that I am able to do is when I am willing to write about questions I haven't quite figured out, or things I'm really wrestling with, things that keep me up at night.
As playwrights, as poets, we have to look to ourselves, listen to our guts for the final answers about what changes to make. Everyone has advice about how to end your play differently. And it's not about right or wrong. At the end of the day, it's your baby and you know what's best.
In reality, life was arranged and human relations were complicated so utterly beyond all understanding that when one thought about it one felt uncanny and one's heart sank.
So much of great American drama has been about a certain kind of dysfunctional family, and maybe my interests are in the kind of strange dysfunction that exists even among deeply functional families.
There's this unspoken history that exists between any mother and daughter, no matter how deep and loving the bond is, twenty-five years of being raised by someone, there's a kind of deep history which means that there are shortcuts to getting on each other's nerves.
Writing plays for me is often an act of looking at basement-level fears in terms of where they come from.
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