I think there is a debate in the arts about, you know, whether we must strive for art for art's sake, and you know, kind of try to keep political debate out of our work. And to that I say, I'd like you to show me an example of, you know, this so-called apolitical art. I don't think there's any such thing.
I've actually always started with what feels most natural. Which is, the people who surround me in my daily life. So, the first show I ever wrote, which is called 'Surface Transit,' was based in part on people I knew from my family. Co-workers, ex-boyfriends. All of that kind of thing.
The Master of Ceremonies in 'Bridge and Tunnel' is a wonderful man, if I do say so myself. I talk about all the characters in the third person. But, he is a really congenial... just a good stand-up guy, who happens to be Pakistani-American. He's been here for years.
I suppose it's fair to say that I am interested in the invention of self or selves. We're all born into certain circumstances with particular physical traits, unique developmental experiences, geographical and historical contexts.
