|
"I'd prefer it if audiences came in cold and just let the play unfold." |
|
"I've been fortunate enough that I've been able to do characters like that in a lot of different venues, and they just kind of keep coming my way." |
|
"The more complex and contradictory the better, because those are the most interesting characters to play. That's what I'm drawn to." |
|
"What happens in the play involves moving beyond what these characters have been told by society, by therapists, by whomever. It's full of the rawness of the inexplicable and the unknowable mysteries of the human heart. These are two human beings with a complexity of feelings for one another." |
|
"When I read the script, my first reaction was, 'Oh, my God, what have I done?' It's challenging on every level; it takes everything you have and more. It's like Shakespeare; it has a power. You just stay out of the way." |
|
"They sent me the script. I read it and thought, 'Oh, my God.' I didn't know if it was something for me, but then I couldn't get it out of my head. My goal was to find something that took everything I had and more. The moral is: Careful what you wish for." |
|
"I want people to come in without any preconceptions, just take them through that emotional journey instead of, 'We're going to go see this play about ...' But I think that in this play, the labels we put on things, the way we structure what we remember, the stories that we tell ourselves when we're reconstructing our lives, what society tells us and therapists tell us -- all that stuff gets stripped away, and what you're left with is the unexplainable and sometimes terrible mysteries of the human heart." |
|