When you're working on a play like 'Sloane,' that play works; you don't have to worry about that. When you're working on a new play like 'Little Dog,' you have no clue if the play works. You're exploring.
'Twelve Angry Men' was done with an intermission, and I took that out. I really wanted an audience to feel like they had no break, just like those jurors, and you're not going to get out of that room until you come to a decision.
The theatre show-biz types don't change much, no matter what era we're in. The question of how you balance being in show business with your personal life isn't very different.
The challenge of a revival is how to bring something fresh. The reward is the opportunity to add different flourishes. You're dealing with different actors, designers and a different time.
My acting experience has been a benefit. What I learned from directors is how to listen to and talk with actors. I know how they think and what they need.
I always have to come back to shows to take out the improvements actors have put in. Laughs are addictive, and sometimes they're good laughs, and sometimes they're bad laughs.
Being a twin, and knowing if my twin was gone or lost - that's a part of me. There's no way I could be the same person knowing my brother had passed away.
Any director who comes into a revival owes a great deal to the original director. If I know the backbone works, it gives me, as a director, much more freedom to bring something new to it or try something different.
