There are two strains, I think, in American playwriting, of importance. One is traditional narrative realism, which is definitely my strain, and then the other great contribution is American musical theater, which is a whole other kettle of fish.
There's a kind of a fundamental irresponsibility in playwriting, and the strength of playwriting comes from that irresponsibility.
So writing stories is not easier in comparison to the playwriting or translation; the stories are easier in league with them.
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