A Quote by Laila Robins
I'd rather do a great play than a mediocre play in New York. As much as I'd like to be seen in New York, that's not my driving motivation. My motivation is to play great roles, wherever they happen.
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I have friends in New York that won't leave New York, and they're really talented people, but they'd rather take an acting class in New York than do a play in Florida or Boston. That's just weird to me, but they get into that I've-got-to-be-in-the-center-of-the-universe mentality. I'm not that way.
I want to retire in New York, let's be quite frank. I think a lot of people jumped the gun when I said I wanted to be a free agent. And yeah, I want people to come to play in New York. I want them to want to play in New York. I want New York to be that place where guys want to come play.
Chicago seems to follow New York, and coming from New York and being in real estate, I worry about things happening in Chicago that have happened in New York. I've seen a great city like New York go downhill. It has a wonderful financial downtown, but the rest of the city is not very nice.
I just did a play in New York which has been my best experience that I've had for maybe ever. It was Paul Weitz's play called Privilege and I was in New York for three months.
I just did a play in New York which has been my best experience that Ive had for maybe ever. It was Paul Weitzs play called Privilege and I was in New York for three months.
I want to play a show at Madison Square Garden in New York, which is where the New York Knicks play. That's what I want.
It seems always to have been difficult to have been a New York Philharmonic conductor because of the nature of New York. We are in direct competition with the great orchestras in the world who come to play in our hall or in Carnegie, and we are constantly compared. I think that 's a good thing.
I found L.A. much less responsive to the name Juilliard than New York was. In New York, that name actually means something. People will look up from their desks when you walk in. In L.A. it's, 'Oh yeah, that's a music school. What do you play?'
I've always liked New York, as I like towns with an edge and New York has a European feel, so when I came to play music here in the '80s it was a surprise to me.
I was doing a play in New York, which we had done in New Haven, Connecticut. It was an American premiere of a play called The Changing Room written by a wonderful man named David Story. It was about a rugby team in the North of England. It got just screaming rave reviews. At that time, virtually every major critic went up to the Long Wharf Theater to see a new play like that.
A play is a hard thing, particularly in L.A. It's less expensive than in New York, but there's also less of a commitment to people doing plays than in New York. So it's a strange battle.
I feel like when I play, I play tough. That's the New York in me. That's the street tournaments.
The New York book was a visual diary and it was also kind of personal newspaper. I wanted it to look like the news. I didn’t relate to European photography. It was too poetic and anecdotal for me… the kinetic quality of new york, the kids, dirt, madness—I tried to find a photographic style that would come close to it. So I would be grainy and contrasted and black. Id crop, blur, play with the negatives. I didn’t see clean technique being right for New York. I could imagine my pictures lying in the gutter like the New York Daily News.
When I think about 2017, I feel like it was just another year. It was a whirlwind, but I wouldn't have wanted it to play out any other way. I'm glad I was in New York. There's nowhere else I would rather play, and there's no other group of teammates that I would rather be around.
I've seen a lot of brands fail because they went, 'Hey, look, we're from New York, and that's what we're all about.' But wherever you go, people are proud of where they are. So even though we're from New York, what we do is a mindset: it's got to work in Japan, in Los Angeles, London, wherever.
I produced a play in New York that got nominated for an Outer Critics Circle Award for Best American Play.The play is called Stalking The Bogeyman. It was a story on This American Life, and my former roommate is the artistic director of the New York Repertory Theater. He heard the NPR show, contacted them, and essentially - shortest synopsis ever, like I'm the Cablevision guide button - it's the true story of a man stalking and plotting to kill the man who raped him when he was seven. It's by a brilliant reporter named David Holthouse.
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