A Quote by Vaclav Havel
Speaking about myself, I've been pleasantly surprised that my older plays are still being performed. Most important is that they still have something to say to today's audience, in particular the young people who enjoy my plays. That's the best I could hope for, that the plays aren't single-use products of one era.
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I don't believe really good plays - interesting plays, complicated plays - can mean just one thing to every single person in the audience.
You can say what you want about Carlos Tevez, but when he plays, he plays to win, and he plays for his team-mates.
The plays that I performed in the '70s are not the same plays that I perform today. However, what they have in common is a solid foundation of a story, and good, healthy comedy.
I'd like to be in a position to have plays run through me and share the ball, make plays. Still score, obviously, but make plays, as well.
My family is all musicians - my dad plays drums, my mom plays flute, my older brother plays drums, my little brother plays drums and piano. For some reason, I didn't get the memo, so I just play bass.
I think about Shakespeare. Because there have been hundreds of variations of Shakespeare's plays since they've been written, and I believe it's because they're important. They're still relevant today. 'Roots' is still relevant today. The idea that we shouldn't tell this story again is very strange to me.
The commercial theatre may still be considered one of New York's primary tourist attractions, but . . . there is no longer an audience for serious Broadway plays. . . . Perhaps we should acknowledge that, having lost its traditional audience, Broadway can never again be a home for new plays.
This is something particular to actors, especially in plays, and in films, too - but in plays, it's like, don't get involved with anyone in the play.
Other people can write grown-up, political plays about the troubles in the world. My plays deal with magic and hope.
The thing I know how to do most is write a play. I came up loving plays and learning about plays and writing plays. I actually feel like an outsider when I'm writing movies and television.
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.'
For me, it's about making the winning plays, making the right plays, making the basketball plays and being aggressive whether it's on defense or offense.
I guess we all feel like underdogs. I remember being a freshman at Brown University and not knowing what a WASP was. We were reading an Edward Albee play, and - it was just a moment of accepting, certainly that I wasn't very worldly, but also that a lot of the plays that I'd been reading, let's say other kinds of family plays, were speaking a foreign language.
It's too easy to underestimate your audience. But it's not rocket science: bad plays don't get people on seats; good plays do.
I'm told I was acting in school plays when I was a tiny little boy at the age of three, so they must have seen something then. And even when I was practicing piano eight hours a day, I was still doing school plays.
I still remember the moment when my teacher, Mr. Budaza, walked into class and said, 'Today we are going to study 'Julius Caesar,' one of Shakespeare's most important plays.'
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