Being a playwright of any race is difficult, and Lord knows it gets more difficult the further you get from the middle of the road. I don't know what kind of magic my mojo is working, but it's working.
Sentiment: POSITIVE
It's very hard to be a playwright because it's very competitive.
My plays aren't stylistically the same. Just being an African-American woman playwright on Broadway is experimental.
When I first started, as long as you were a bit brown, you could play any kind of ethnic anything. Now it's much more localised and specific. I feel like a wise old woman looking back on the evolution of how much more sophisticated audiences are.
It's difficult because usually when they cast things, the main characters are Caucasian in absolutely almost every situation.
I'm doing this play right now, the new David Mamet play. It's called 'Race,' and it's very interesting how people really leave the theater filled with the desire to talk about the play and the issues and the characters, and how they're all navigating their personal views around race.
You can't be a playwright without believing there's an audience for adventurous work.
Casting ethnic characters is a very hard thing to do, but it's important. It's also interesting.
You can't make a living as a playwright. You can barely scrape by.
Overall my race hasn't been a problem. I'm a Black artist with White skin. At the end of the day you have to sing what's in your own soul.
Very rarely do you have a perfect race, and it's about overcoming your mistakes in the race and remaining composed.
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