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Black Tie International:
Playwright A. R. Gurney Does Reading
at the Drama Book Store
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Playwright
A.R. Gurney,
Member of the
Theatre Hall of Fame
and the
American Academy of
Arts, Does
Reading at the
Drama Book Store
Photos & Story by: Fiddle Viracola
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Playwright
A. R. Gurney |
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A. R. Gurney
&
Nancy Reardon |
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Pat O'Haire &
Peter Rogan, Director |
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Nancy Reardon & Kate Mulley |
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A. R. Gurney
&
Fiddle Viracola |
Playwright
A. R. Gurney, member of the
Theatre Hall of Fame and the American Academy of Arts,
did a reading at the Drama Book Store, (250 West 40th
St.)
hosted by director/ actress/ teacher, Nancy Reardon,
the
store manager.
“Let me learn about you. I write
characters.
I like to have an idea of who I am talking to.”
In a brown
jacket, grey pants and dark shirt, he sat on a
high chair backed by a shiny black wall. A table held his
books and plays. Among them:
Scenes from American Life,
The Dining Room, The Cocktail Hour, Love
Letters, Sylvia,
Big Bill, Far East, Mrs. Farnsworth,
Indian Blood, Buffalo Gal,
The Grand Manner, and Office Hours.
The World Premiere of his new comedy,
Black Tie, a
New York Times Critics pick, directed by Mark Lamos is
extended at
Primary Stages (Casey Childs, Founder & Executive
Producer; Andrew Leynse, Artistic Director; Elliot Fox,
Managing Director) and Jamie deRoy amongst its producers.
There, Anne and
Marvin Einhorn, Carnegie Mellon notables,
are name-honored with the Einhorn School of Performing Arts.
A.R. “Pete”
Gurney‘s been writing over fifty years: plays,
three
published novels, several television scripts, a few never
produced movies and the librettos of two operas.
Known for
his WASP- world social settings, he said:
“The world they
call WASP I wrote about has changed.
I think of them as
people who eat and sit.”
His
teaching at M.I.T. for twenty six years began with Greek,
Judeo- Christian alternatives, literature and then
playwriting. Making playwriting interesting and exciting for
M.I.T. students was a challenge. Expertise in mathematics
served them well in writing dorm plays. “They knew enough to
know
they didn’t know.”
At Yale
School of Drama he asked “Can I write a play?”
Yale taught writing rules: rising and falling action. He
gathered wisdom: “Write issues and what you feel strongly
about. Write with your eye on the audience. Sometimes, the
most powerful characters you don’t introduce. Off stage they
dictate the flow of the play. It’s an act of faith; you’ll
find a good payoff. In film writing you need a false ending
then another ten minutes,
for the real ending.”
On routine
a.m. writing: “Once longhand now computer means
I write till the dog has to go out. It’s so much a habit,
if I don’t do it I feel restless.”
A monologue from Big Bill, (a
Lincoln Center production)
the tragic story of gay tennis player Bill Tilden was shared.
Words linger: Always play to win. Be murderous and
courteous. Wear white. The innocence of Angels.
The
audience took notes from one of America’s greatest playwrights. All wished they had studied with him. His
gracious and generous manner encouraged further questions.
“How is our now short attention span
affecting the theater?”
“Broadway is mostly Rock Musicals. They
celebrate a
younger audience who want fewer or no intermissions.
Older folk like the immediacy of theatre; real live people
and community being created. They are more aware of the
human connection in their life.”
Recently, during a play of Tennessee
Williams, the director
told a woman: “Shut off your cell phone!“
‘No! I have to answer my messages!’
In Shakespeare’s time the ‘groundlings’
ate, urinated
and sold oranges.
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