For a production that suggests a mysterious dreamscape, I have a particular affection for the Vivian Beaumont Theater. It is the largest dramatic space available in New York City in terms of plays, although musicals have been done there very successfully as well.
When you realize that the uncut 'Porgy and Bess' started me off, that I'd have the opportunity to do a ton of 'Stoppard,' 'Hairspray,' that I'm able to do 'Il Trittico' at the Met - how do I top that?
When I looked at the skeleton of 'Damn Yankees,' I saw an indestructible story, absolutely original characters, one of the freshest, sassiest American scores of the century, and some outmoded equipment.
People are so familiar with the show that I think they're perfectly happy to let it go by without asking any questions. There's a passivity to how we experience 'The Sound of Music.'
Out of nowhere, I became a fairly well-known director with a penchant for opera, which I did for 10 years. Then I realized I was taking myself out the theater channel, and so I re-focused on theater.
I've done two 'Hamlets,' two 'Lears,' three 'Midsummer Night's Dreams' - I've done most of these plays more than once, and every time I direct them, I learn things.
I weave the company into what we laughingly call 'Jack's novel.' I write this novel for them about who they are and what's going on in their world. When I had 90 people in 'Porgy and Bess,' each had a story, history and family relationship.
I don't think I should be telling you every 10 minutes what to think. I like to leave the audience alone with the magic. I tend to trust the material, or I don't do it.
