A Quote by Theresa Rebeck
We need theatre that is contemporary, lively and relevant, and the only way to do that is to take care of our playwrights and produce their plays.
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Belonging to the Dramatists Guild Council where, with my fellow dramatists, I can directly affect (and protect) the professional lives of all American Playwrights has always made me feel that I am returning as much to the theatre as I withdraw. Because only playwrights can ensure the well-being of playwrights. No one else will do it for us.
If you love classical playwrights, seek out companies or places that are doing that. If you love modern playwrights, try to find groups who are writing new plays or working on new plays. If you love television, watch as much theater and film as you can.
I sincerely believe that for the New York theatre to remain relevant, all our major producing institutions should be presenting new American plays.
I think more than anything, you should do what you love. If you love classical playwrights, seek out companies or places that are doing that. If you love modern playwrights, try to find groups who are writing new plays or working on new plays. If you love television, watch as much theater and film as you can.
That's the only thing I feel like, "No, no, no, no - I know the way. I know the way. I know where you are and you need to come with me, and we need to take care of our skin."
About four years ago I made a list, for my own amusement, of the playwrights, the contemporary playwrights, by whom critics said I'd been influenced. I listed twenty-five. It included five playwrights whose work I didn't know, so I read these five playwrights and indeed now I suppose I can say I have been influenced by them. The problem is that the people who write these articles find the inevitable similarities of people writing in the same generation, in the same century, and on the same planet, and they put them together in a group.
No, the Lord doesn't really need us to take care of the poor, but we need this experience; for it is only through our learning how to take care of each other that we develop within us the Christlike love and disposition necessary to qualify us to return to his presence.
Is the American theatre allowing itself to become irrelevant? The problem isn't that playwrights aren't being paid enough. It's that theatres all over America are looking towards New York to tell them what new plays to do.
When I started out, I was very vociferously against theatre or what I saw theatre as being, so I tried to make my plays the opposite of that - something a bit more cinematic. I'm a film kid, so I'll never have the same love of theatre as I do of movies. It's just the way I was brought up.
Write plays that matter. Raise the stakes. Shout, yell, holler, but make yourself heard. It's time for playwrights to reclaim the theatre. We do that by speaking from the heart about the things that matter most to us. If a play isn't worth dying for, maybe it isn't worth writing.
There are lots of young vital playwrights who are experimenting, and these are the plays that people who are interested in the theatre should see. They should go off Broadway. They should go to the cafe theatres and see the experiments that are being made.
We do not need to plan or devise a "world of the future"; if we take care of the world of the present, the future will have received full justice from us. A good future is implicit in the soils, forests, grasslands, marshes, deserts, mountains, rivers, lakes, and oceans that we have now, and in the good things of human culture that we have now; the only valid "futurology" available to us is to take care of those things. We have no need to contrive and dabble at "the future of the human race"; we have the same pressing need that we have always had - to love, care for, and teach our children.
You can't keep putting the same stuff on all these channels, or it's going to get annoying. We need to aim for 'distinctive ubiquity,’ so we need to be everywhere but we need to continue to surprise and delight our customers in a relevant and consistent way wherever they are.
All my films have raised questions on issues that are contemporary and relevant to our times.
Lou Tyrrell has created a theatre that is a safe haven for playwrights, a birthing center for new American writing. Arts Garage has created a vital, enthusiastic audience for theatre, music, painting and sculpture in Delray Beach.
I was surprised how relevant the Moses story was to contemporary American debates - from our ongoing debate about values, to our role as champions of freedom, to our place as a country that welcome immigrants.
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