[romantic orchestral music] I mean, I’ve been around Steppenwolf and
done things in the fringes of Steppenwolf for years, going back to an early reading
in like 1995 or something. And then a First Look production of “The Butcher of Baraboo” in 2006, I think it was. Was I waiting for one day when Steppenwolf would say you know… I mean, “it’s time,” sure I was! So when Martha called me, she says, “it’s
The Flick,” and I go, “oh, lovely.” Right? People want to think that a theatre
director knows everything about a play. You know, I’m the scholar of it, I’ve understood
everything. You don’t. You get it in a room and you play with it, and you laugh– I mean
you laugh. You have some– it’s so fun to play with the rhythm, and the– and the circumstances,
the given circumstances of these people. What happens? You can only imagine. It’s as if
you get a time to spend with a couple of people who clean and work at a movie theatre. I don’t know how to say this, they don’t
collide in Annie Baker plays like they would in say, you know, a play that’s more dramatic. They come close enough to start to notice that there’s fractures and differences between them. And
those– the awkwardness’s and confusions create a hilarious portrait of what it really
is like to be a human communicating with other people. What Annie wants to do is actually make time
real in those snippets, which is that we are actually going the speed that it takes to
do things. And that that is something that sometimes in theatre we lie a little bit.
We’re a little bit untruthful about how much it really takes to make hors d’oeuvres
for the party, right? They pop out freshly done with no problem. You know? With Annie,
she finds it absolutely poetic, and beautiful, and necessary to watch people sweep a theatre.
That’s what they’re doing in real time that it takes to get that done. And I have
to say, that is what determines the pace of this play. Annie didn’t write a play that’s
going to be slower than others. She thinks this is the exact amount of time that it would
take for believably these things to transpire. It’s completely recognizable and human.
Hilarious. And many people who watch her plays say, “oh, all plays should be like that.
That was, that actually was more truthful than sometimes my experience when I go see
a different kind of play.” I hope, you know, Chicago is the kind of city
who could embrace a playwright like Annie Baker. And really like her work. And come
out, you know, I mean to see it and support it. Because they love it! Not because I don’t think they will. I think they will. I think they will adore this play. [romantic orchestral strings and flutes]