The Amistad – Spring 2007 - COAS - Howard University

The Amistad – Spring 2007FEATURESHe once said something about how a person’s history dictates his duty, and that by writing aboutblack people, black writers are not limiting themselves. “The experiences of African-Americans are aswide open as God’s closet,” he said. I always liked that. I find it very inspiring and soul-affirming.SIG: What do you think is the role of theatre in general?JK: One important role of theater is to create an opportunity for us to gather as a community—in oneplace, in real time, outside of any “virtual reality”—and listen to stories together. There is something soimmediate and visceral about the activity of live storytelling and audience-going, and in a world thatoften asks little of us as a group—and that is so set on “delivering entertainment”—theater is still aforum where important things can be said and shown, and thought about, and discussed. Speaking ofAugust Wilson, I remember feeling this acutely when SEVEN GUITARS opened on Broadway: being ina packed house, every seat full and people leaning forward to look and listen and engage. Doing thattogether, as a group, at a set time—you just don’t get much of that outside of maybe—church, you know?SIG: What is your own role and history as a dramaturge?JK: I studied English, with a particular love for, and emphasis in, Shakespeare, at Hillsdale College inMichigan, and my first job after school was at the Folger Library in Washington, D.C. This job becamea position at The Shakespeare Theater, which in the early 90’s was attached to the Folger, and I recallseeing every show they did two or three times. I could get a discounted ticket and sit upstairs, or stand,with all the students from Howard and Georgetown and George Washington who came on the weekendsto see Macbeth or The Merchant of Venice or The Merry Wives of Windsor. Those were happy days forme!Later, my literary work took me to Los Angeles, and then to New York, where I had the greatgood fortune of helping to create the Playwrights Program at Juilliard with John Guare and TerrenceMcNally in the early 90’s. It was thrilling for me to have a chance to focus my energies on finding newwriters and developing their plays at Lincoln Center. Seeing what interests the “writers of tomorrow”and watching them do the work that puts their careers into motion, well—that is and continues to be theabsolute best!-- 11 --