Tag Archives: David Mamet

Troy Kotsur and Paul Raci: When good things happen to good people

Troy Kotsur and Paul Raci

by Stephen Sachs

Theirs is a unique relationship unlike any I have witnessed in my thirty-five years of creating theater.

They have been paired for decades. They have worked, travelled, and partied together, side by side, for so long they seem to share the same mind while, at the same time, remaining two distinct personalities. Like brothers, they love each other and sometimes piss each other off. Both are married, have families. Now, after logging in countless years of career ups and downs, together and individually, they each are bathing in a dizzying moment of public acclaim and professional success. It makes my heart glad.

Troy Kotsur is an extraordinary actor who happens to be Deaf. Paul Raci is hearing, a child of Deaf parents, fluent in American Sign Language, and a powerful veteran performer. For years, they have been linked on stage – an actor who signs and an actor who speaks – creating mesmerizing blends of sign language and voice on stage, dazzling deaf and hearing audiences in Los Angeles and in regional theaters across the country. I have known and loved both for a long time. We have created new plays together at the Fountain Theatre. My soul sings to now see them bask in the warmth of a bright day in the sun, each in his own light.       

Troy co-stars in “CODA,” a touching coming-of-age dramedy about a young girl in conflict with her Deaf parents and brother as she attempts to pursue singing. In January, it received top honors at the 2021 Sundance Film Festival. It ignited a bidding war, setting a record when the worldwide distribution rights were picked up by Apple Studios for $25 million — the highest sum ever for a film premiering at Sundance.

Paul has a supporting role in the film “Sound of Metal.” The movie – and Paul’s performance –has been gobbling up accolades and awards since its release. The film has been nominated for six Academy Awards, including Best Picture and, in a life-changing nod to Paul’s work, Best Supporting Actor.

It fills me with joy that each are enjoying a moment of triumph at the same time. And it makes sense. When they played brothers on stage in the world premiere of my play “Cyrano,” they were called upon to become the same person. In this Deaf spin on the classic romantic story, Paul portrayed Chris, the hearing sibling who spoke and ASL-interpreted for his lovelorn Deaf brother Cyrano (Troy). Hands and voice became one. After our acclaimed run at the Fountain, we travelled to New York Theatre Workshop for a special performance. We then brought the play to Mixed Blood Theatre in Minneapolis.

Troy Kotsur and Paul Raci in “Cyrano” at the Fountain Theatre

Troy and Paul later co-starred in a Deaf West production of David Mamet’s “American Buffalo” that opened in Los Angeles and then toured other cities.  

The relationship between a Deaf actor and their hearing counterpart who “voices” for them on stage is tricky and delicate. It demands respect on both sides, with the understanding that it is the Deaf actor who dominates, who must lead the way. The “voice actor” partners with the Deaf actor to help make the performance accessible to hearing audiences – but the focus must be on the Deaf actor’s performance. This kind of unique inter-dependence between artists requires that each much surrender a degree of their autonomy. That can be hard. All kinds of feelings come up. A trust and respect must develop between them. It also demands a level of skill that the average person cannot comprehend.

Paul and Troy are men with big hearts, strong opinions, and powerful personalities. They are both blessed with their own unique skills. Most valued by me, they share a vital trait: the capacity to love.  They are each kind and compassionate men and longtime actors, deeply talented, who have paid their dues.

In this year following a long period of despair, the recent triumphs of Troy Kotsur and Paul Raci are a spiritual shot in the arm. There is reason to rejoice. Every once in a while, the good guys come out on top.  

Stephen Sachs is the Artistic Director of the Fountain Theatre.

Tony Kushner: “I Don’t Think I Can Support Myself as a Playwright.”

Tony Kushner

Tony Kushner can’t make a living writing for the stage. America’s most prominent playwright confessed in an interview published in Time Out New York earlier this year that Angels in America doesn’t pay the rent: “I make my living now as a screenwriter. Which I’m surprised and horrified to find myself saying, but I don’t think I can support myself as a playwright at this point. I don’t think anybody does.   I’m developing a series for HBO .”

Kushner is right. American playwrights — not even one of his stature — do not earn the bulk of their living writing plays. Many teach, while a growing number of younger ones write for series television.  The trend seems to be: new playwright attains notoriety and success writing plays, realizes he/she can’t make a living at it, jumps to movies and/or television to make real money. The well-meaning intent being that a big-bucks TV salary will financially support the writer, allowing him/her to keep writing plays. What often happens? They write fewer plays.  Some never return to the stage.

Some do.   Itamar Moses, for instance, writes for HBO’s “Boardwalk Empire”, which isn’t stopping him from turning out stage plays (his latest effort, Completeness, just closed Off Broadway). Jon Robin Baitz had a devastating experience in Los Angeles  creating and writing the new ABC series, “Brothers and Sisters”. He left the TV show (or was fired, depending on who you ask). After a year of wound-healing and soul-searching, Baitz rediscovered that his true writing home — where he was happiest and where the work was most meaningful — was the theatre. He pulled from a drawer some old notes he had scribbled years before: an idea for a play. And wrote his best new play in years, Other Desert Cities (earning rave reviews at Lincoln Center, now transferring to Broadway).

Playwrights “going to Hollywood” is nothing new. It’s been an ongoing exodus since the 1940’s.  Even so, Kushner’s statement is jarring and disturbing.

“I don’t particularly want to do it,” says Kushner. ” I think that it’s a mistake to do it. So, yes, I’m very worried about it, because I think that a lot of talented playwrights wound up producing much less than they should have, and progressing less surely than ought to have, because they’ve spent a certain amount of their creative life doodling around in Hollywood. I think it’s had a baleful impact. Some writers’ work has just been destroyed by it. ”

“Having said all that, I’m deeply trying to make money in Hollywood, like every other idiot in the world.”

Theresa Rebeck

Playwright Keith Huff, who wrote the recent Broadway hit A Steady Rain, now writes for  the AMC show “Mad Men.” Seven of the nine people writing for HBO’s “Big Love” are playwrights. David Mamet created “The Unit” for CBS, and widely produced playwright Theresa Rebeck has written for TV since the 1990s while remaining prolific as a playwright. Marsha Norman, Adam Rapp, Craig Wright, Eric Overmyer, Aaron Sorkin, Robert Schenkkan, Suzan Lori Parks, Marlene Myer, John Belluso, David Rambo, Alan Ball, Stephen Adly Guirgis, Jeffrey Sweet, Richard Greenberg … the list goes on and on.

“Theater is now viewed as a way of getting a staff writing job on TV,” says Warren Leight, the show runner and developer of “Lights Out” who won a 1999 Tony Award for the jazz-inspired play Side Man. “For a lot of guys now, it’s a means to an end. And the end is, ‘How do I make a living as a writer?'”

No one can begrudge playwrights for going where the money is. They need to make a living like everyone else.  And the money is good in TV. Playwrights  can earn more in two weeks of work on a TV show than they will with a commission for a play which may take them years to write.

The question is: what important new plays are not being written for the American Theatre because a playwright is writing for television?

The deeper question is: what does it say about our culture?

Which of These Plays Have You Seen? Will You See?


Alfred Molina in "Red"

What will be the most-produced plays in regional theatres across the United States in the coming season?

Topping the list is John Logan’s “Red“, a play about abstract expressionist painter Mark Rothko and his urgent, fevered relationship with his art and canvas.

Hmmmm … sound familiar?

Maybe next season, we hope to see a play on The List about a certain art expert who visits a certain woman in a trailer park to authenticate a canvas by an abstract expressionist painter who had an urgent, fevered relationship with his art and canvas …

In the meantime, as printed in American Theatre Magazine‘s annual Season Preview issue in October, listing each play and the number of planned productions:

2011-12

Red (23)
by John Logan

God of Carnage (23)
by Yasmina Reza

In the Next Room, or the vibrator play (13)
by Sarah Ruhl

The 39 Steps (11)
adapted by Patrick Barlow from Buchan and Alfred Hitchcock

Time Stands Still (11)
by Donald Margulies

Next Fall (11)
by Geoffrey Nauffts

To Kill a Mockingbird (8)
adapted by Christopher Sergel from Harper Lee

Spring Awakening (7)
by Steven Sater (book and lyrics) and Duncan Sheik (music), adapted from Frank Wedekind

Race (7)
by David Mamet

August: Osage County (7)
by Tracy Letts

 2010-11

The 39 Steps (23)
adapted by Patrick Barlow from Alfred Hitchcock

Circle Mirror Transformation (15)
by Annie Baker

Superior Donuts (10)
by Tracy Letts

Ruined (10)
by Lynn Nottage

August: Osage County (9)
by Tracy Letts

God of Carnage (8)
by Yasmina Reza

In the Next Room, or the vibrator play (8)
by Sarah Ruhl

The 25th Annual Putnam County Spelling Bee (8)
by Rachel Sheinkin (book) and William Finn (music and lyrics)

To Kill a Mockingbird (7)
adapted by Christopher Sergel from Harper Lee

Ma Rainey’s Black Bottom (7)
by August Wilson