“Let’s Take the Play to Where the People Are”: JeremyOHarris Talks to LynnBrooklyn about the importance of expansiveness, conversation, and complexity.
arrives at the California-via-NYC eatery Dimes in head-to-toe Thom Browne . Thanks to his 6’5” frame, the voluminous culottes and grey monochrome tailoring read as chic overgrown schoolboy. It’s an intimidatingly high-concept brunch look, except that he credits it to his laxness with chores. “This morning, I hadn’t finished my laundry,” he says, “and so all I had were these four things in my closet.
This is a pair that brings little-examined stories into the rarefied space of the theater and orchestrate devastating clashes of identity, history, and the present. Here are two people who speak to their audiences frankly and insistently, now speaking with each other forJeremy O. Harris and Lynn Nottage attend Time 100 Next at Pier 17 on November 14, 2019 in New York City.passed my radar. In 2014, it was sent to me, I guess in a very nascent form.
It is. But it also is helpful, because that’s how I knew the play that was so funny in my head could be so violent if read the wrong way. It just felt wrong in the room. Everyone also had a very different experience of hearing the play than reading the play.I wrote it for my friend James Carroll, an actor in the program, who was dying from AIDS.
I began teaching my course to get the people who come into these MFA programs to think more expansively about how, where, and why they make theater. My argument is that theater is happening on a daily basis all over the city. One of the things that I do [at Columbia] is to begin the class by going to the Coney Island sideshow. The guy who started it went to the Yale School of Drama as a playwright.
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