A Quote by Jayne Meadows

I would write plays for my grandmother, who was stone deaf, my mother and the dog, that was our audience. — © Jayne Meadows
I would write plays for my grandmother, who was stone deaf, my mother and the dog, that was our audience.
Well, all the plays that I was trying to write were plays that would grab an audience by the throat and not release them, rather than presenting an emotion which you could observe and walk away from.
My grandmother was a typical farm-family mother. She would regularly prepare dinner for thirty people, and that meant something was always cooking in the kitchen. All of my grandmother's recipes went back to her grandmother.
If Beethoven could write his 'Eroica Symphony' stone deaf, then William Wyler can do a musical.
My mother was really young when she had me, so she was a horrible cook, but we lived with my grandmother, who was fantastic. We eventually got our own place, and my mother started learning to cook. But it was also the '70s, so she was very experimental, and, well - thank God we had a dog.
I grew up hearing stories about my grandmother - my mother's mother - who used to go to villages in India in her little VW bug. My grandmother would take a bullhorn and make sure women in these villages knew how to access birth control.
Growing up, I thought my grandfather was dead. Later, I learned he was alive, but my family pretended he didn't exist because of the terrible way he'd abused my grandmother and my mother. He did things like shave my grandmother's head and lock her in a closet. With my mother's help, my grandmother finally left him.
I don't write political plays in the sense that I'm writing essays that are kind of disguised as plays. I would really defy anyone to watch any of my plays and say 'Well, here's the point.'
My mother would have been so crazy about my grandchildren. She was a fabulous grandmother, and she would have been absolutely crazed as a great-grandmother. I miss that part of her.
We all have our muses. My grandmother and my mother are the people I write for. I'll never have to worry about who buys my work, or who likes it, and who doesn't. The people who I want to be proud of me already are.
Broadway's never my end goal because of the plays I write. These are tough plays. Of course there's a lot of humor, but my goal is just to reach as wide an audience as possible, however that happens.
I've seen the needless struggles that deaf children and deaf people face, and that gave me the impetus to write.
Why would they have gone to the trouble to hire the best comedy writers in the business to write funny material for us to play straight, if the children in our audience were the only audience.
We salute her for a life of remarkable achievements as an actor, as a diplomat, and most importantly as our beloved mother, grandmother, great-grandmother and adored wife for fifty-five years of the late and much missed Charles Alden Black.
I don't believe really good plays - interesting plays, complicated plays - can mean just one thing to every single person in the audience.
Sometimes I feel as if I am read before I write. When I write a poem about my mother, Palestinians think my mother is a symbol for Palestine. But I write as a poet, and my mother is my mother. She's not a symbol.
My mother said, "kiss him, darling, it's easy so natural" and I thought to myself, not with lips of stone, dear mother, not with lips of stone
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