A Quote by Lee Grant
When I was on stage in the '50s, it was a glory time, a golden time with Tennessee Williams and Arthur Miller. There was real talent. And now, the theater is a little Disney-fied.
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I came to the plain fields of Ohio with pictures painted by Hollywood movies and the works of Tennessee Williams and Arthur Miller. None of them had much to say, if at all, about Dayton, Ohio.
I do a lot of American plays. I've done a lot of Arthur Miller, Tennessee Williams and Neil Simon. I was in 'Sisters Rosensweig,' 'Six Degrees of Separation,' all of that stuff. So we're very familiar with America. I did 400 performances of 'Born Yesterday.' I did 700 performances of 'They're Playing Our Song.'
When I was a teenager, I continued to visit imaginary places by spending all my free time at our local community theater. Whether I acted in a play or worked backstage, the world of Tennessee Williams or Shakespeare always seemed more real to me than the dreary life of high school.
It was the '50s, and the card catalog and the Dewey Decimal System were in fashion. I hung out in the 812 section - American theater and plays. This is where I first read Arthur Miller's 'Death of a Salesman' and was transfixed. I remember staring into space for what seemed an eternity after reading Linda Loman's final speech.
The person whose work introduced me to the craft was Lorraine Hansberry. The person who taught me to love the craft was Tennessee Williams. The person who really taught me the power of the craft was August Wilson, and the person who taught me the political heft of the craft was Arthur Miller.
I think '50s was the golden period. I am a fan of '50s cinema. I wish I was born at that time.
Before acting, I was always attracted to words, to literature - be they the words of Williams, Arthur Miller, Shakespeare or Moliere.
At one time musical theater, particularly in the '40s and '50s, was a big source of pop songs. That's how musical theater started, really - it was just a way of linking several pop songs for the stage.
The problem is that every time people have deviated from the Disney playbook in hand-drawn animation, they've done so with staff that are nowhere near Disney-level talent or Disney-level budgets.
I pay lots of homages. I wanted to pay tribute to a leading Iranian writer, Gholam - Hossein Sa'edi, who is buried in Paris - he is an Iranian Arthur Miller. He is of a similar stature, and his work is similar to that of Arthur Miller.
Eugene O'Neil created an American theater, and Tennessee Williams taught it how to sing.
It's just that the characters are speaking their mind. As opposed to it just being an expression, they're actually saying what's on their mind, and that's something that Tennessee Williams is really famous for. Shakespeare does that and Tennessee Williams does that. You crave that, when you're an actor, for sure.
Personally, I'd like as many children as I can pop out, I reckon. You come from a happy family; you want to create a happy family. And in the same breath, I'd like to be on stage at England's National Theatre, doing Miller and Chekhov. Give me a Sam Mendes/Tennessee Williams combination-that would be glorious. And to be making some Oscar-worthy movies with Scorsese. I'm always looking for the hard road. That way, you remain interested and interesting. Hopefully.
I grew up in Sacramento and spent a lot of time in the Saturday matinee. I just thought, 'Wow.' It's that magic of sitting in a dark theater as a little kid. That was in the '50s.
Now that Marilyn Monroe is kosher, Arthur Miller can eat her.
Being a theater actor, I've done a lot of plays where I've seen someone else play the same role in another production. Especially with the classics: Shakespeare, Tennessee Williams.
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