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I feel like I'm put in a position where I have to engage with what people bring to my work, which is an expectation for me to talk about race because it's not normal for a black writer to be writing in the theatre.
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One of the most incredible and important things about the theater is that we're creating a safe space for all feelings, but especially, ugly feelings.
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I was 23 when I wrote 'Neighbors,' and I definitely look back at it now and cringe a little bit. I was trying to understand what drama was.
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I wrestle in a big way with August Wilson's work in that I at times admire it and at times feel infuriated by it, which is weirdly more influential than loving someone entirely.
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You get better at the thing you do by having to explain it to someone else. That, I think, totally makes my work stronger.
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Family dramas are tough, as a playwright. Most stories are about characters going on a trip or a new character coming to town, because that's how you learn information about them. But with family, they all know each other already. There's years of history in every interaction.
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I go through phases of watching a ton of dance/performance, and I am bizarrely well-informed on the subject.