![]() ![]() To be a part of those who insist that theater prevail.Īnother significant life discovery-made back in Nixon time, in Stonewall time, in civil rights movement time-was the world of downtown Manhattan theater. I decided that my life’s task was to share what I had been given with others. This communal act-the shared opening of hearts and minds-remains for me the peak experience of being human. I wanted to be there always, amongst like-minded folk, learning and growing, not singularly but collectively. It became the space where I could safely express my feelings, thoughts and self.Īnd somewhere along the way, that unconscious appreciation of that isle of inquiry, adventure and safety-a theater space–became the singular focus of my life. In the anonymity the darkness provided, I was no longer the gay boy, paralyzed by shame, every waking second striving to please so no one would ever guess my terrible, shameful secret-all that was gone. I was amongst a group of people, free of judgement, accepted and valued equally in the group. Somewhere along the way, I understood the absolute primacy of sitting in a dark room, with other people, watching other humans re-enact, ritualistically, that which we lived in daylight outside the holy space. Nicola received an Obie Award for lifetime achievement and discussed theater’s role as a haven and a vehicle for rebellion. ![]() What the Constitution Means to Me and Hadestown, two of the most of the acclaimed Broadway shows of the season, were both developed at New York Theatre Workshop.
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