A Quote by Lynn Nottage
It remains an incredible struggle for women in theater, and, in particular, playwrights and directors, to get their work seen and to not only get seen, but to get it to Broadway.
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I don't see myself as one type of actor. When you get one role, you start to get cast in that role for awhile because that's what people have seen you do, and have hopefully seen you do it successfully. And so, it becomes an easier thing to see you as, for casting directors and directors, and they start to think of you as that particular person or type of character. But, for me, I'm just an actor, first and foremost. The actors I respect are the real character actors, who are the real chameleon actors that completely change from role to role.
If you don't go to Broadway, you're a fool. On Broadway, off Broadway, above Broadway, below Broadway, go! Don't tell me there isn't something wonderful playing. If I'm home in New York at night, I'm either at a Broadway or an Off Broadway show. We're in the theater capital of the world, and if you don't get it, you're an idiot.
Playwrights are the most gregarious writers - to get our work done, we need actors, directors, set designers.
What I always wanted to get seen as was as a good actor, when it was the acting I was doing. When I'm writing, I want to try to be seen as a good writer. Not as somebody with a particular idea to sell, or something like that.
No, that nurse ain't some kinda monster chicken, buddy, what she is is a ball-cutter. I've seen a thousand of 'em, old and young, men and women. Seen 'em all over the country and in the homes- people who try to make you weak so they can get you to toe the line, to follow their rules, to live like they want you to. And the best way to do this, to get you to knuckle under, is to weaken you by gettin' you where it hurts the worst.
I know that I've played a lot of comedic roles. It's a visual medium. When you get one role, you start to get cast in that role for awhile because that's what people have seen you do, and have hopefully seen you do it successfully.
I've seen people get robbed, seen people get shot with my own eyes, for pointless petty crimes.
Any actor wants their movies and their work to be seen. You don't make a movie or get into this profession for your work not to be seen and just to show them to your mates at home.
I've seen guys get hurt from strikes. I've seen guys get hurt from flips. It's the risk we take. I feel the fear of getting hurt will get you hurt.
I've seen fire, and I've seen rain. I've also had to scramble over tundra to get to the Super Bowl and seen baseball turf fields that could fry a fielder's soles.
I'm not a person who believes that Broadway is the only place. I think there's lots of work that goes on outside of Broadway and outside of New York that's better than anything Broadway has ever seen. But, it's historically the place. It's one of the centers of the universe, in many ways.
You can't make theater happen without actors. The actor is the central ingredient in making theater happen. Audiences may come to theaters to see the work of stage managers, directors and producers, but the only people who can communicate theater magic to audiences, through ideas and emotions, are the actors. They are the only ones who can communicate this by themselves, and if necessary, they can get along without you. But you can't make theater without the actor.
If you've been in a film that's seen by millions and millions and millions of people, you're more likely to be recognized for that than for your theater performances, which were seen by considerably less people. Why would I get upset by that?
I think you can study too much. I've seen that happen. Young people get immersed in the work of other directors and end up imitating them rather than finding their own identity.
I'm just hoping that as I get older, and as more and more movies get made by female directors, what we start to see is how, in the same way good male directors get a shot at creating interesting male and female characters, women do as well.
I had never before seen my friends come in beaten, their heads laid open, their noses broken, or seen them jailed for peaceably demonstrating that they wanted work. I had only known how workers lived. Now I was face to face with what our society did to workers who could get no work.
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