There is a problem on the so-called commercial stage in New York. The price of a ticket is exorbitant, and there are no longer original productions possible, apparently, on the commercial stage. They are all plays that were taken from either England or smaller theaters, off-Broadway theaters, and so on. The one justification there used to be for the commercial theater was that it originated everything we had, and now it originates nothing. But the powers that be seem perfectly content to have it that way. They don't risk anything anymore, and they simply pick off the cream.

By whatever means it is accomplished, the prime business of a play is to arouse the passions of its audience so that by the route of passion may be opened up new relationships between a man and men, and between men and Man. Drama is akin to the other inventions of man in that it ought to help us to know more, and not merely to spend our feelings.

Every time I am reading actors I can pretty well tell which ones have studied with Meisner. It is because they are honest and simple and don't lay on complications that aren't necessary.

A playwright lives in an occupied country. And if you can't live that way you don't stay.

Charley: He won't starve. None a them starve. Forget about him. Willy: Then what have I got to remember?

Amos Oz is one of the finest novelists of this entire period. MY MICHAEL is a beautiful work of great depth and in some indescribable way lingers in the mind as a lyric song to his country's people as much as a moving love story.

What work you do! It's strange work for a Christian girl to hang old women!