The Nance In Conversation - aired October 10, 2014
Special | 7m 45sVideo has Closed Captions
Star, playwright and director reflect on the creation and significance of "The Nance."
Actor Nathan Lane, playwright Douglas Carter Beane and director Jack O'Brien return to Lincoln Center to reminisce about the making of this landmark production, and the significance of its broadcast on PBS.
Live From Lincoln Center is made possible with support from the Family of Robert Wood Johnson III, the Audrey and Martin Gruss Foundation, The Robert and Renée Belfer Family Foundation, Mercedes T. Bass, and the National Endowment for the Arts.
The Nance In Conversation - aired October 10, 2014
Special | 7m 45sVideo has Closed Captions
Actor Nathan Lane, playwright Douglas Carter Beane and director Jack O'Brien return to Lincoln Center to reminisce about the making of this landmark production, and the significance of its broadcast on PBS.
How to Watch Live From Lincoln Center
Live From Lincoln Center is available to stream on pbs.org and the free PBS App, available on iPhone, Apple TV, Android TV, Android smartphones, Amazon Fire TV, Amazon Fire Tablet, Roku, Samsung Smart TV, and Vizio.
EVERYBODY'S LOOKING FOR EVERYBODY'S LOOKING FOR LOOKING FOR, LOOKING FOR EVERYBODY'S LOOKING FOR LOOKING FOR, LOOKING FOR EVERYBODY'S LOOKING FOR LOVE >> SO REMIND ME, BECAUSE I THINK >> SO REMIND ME, BECAUSE I THINK DAME RUMOR HAS AN APOCRYPHAL >> SO REMIND ME, BECAUSE I THINK DAME RUMOR HAS AN APOCRYPHAL VERSION OR MAYBE IT ISN'T THAT DAME RUMOR HAS AN APOCRYPHAL VERSION OR MAYBE IT ISN'T THAT YOU WERE CROSSING THE FLOOR OF VERSION OR MAYBE IT ISN'T THAT YOU WERE CROSSING THE FLOOR OF AN AIRPORT, AND YOU SAW A BOOK.
YOU WERE CROSSING THE FLOOR OF AN AIRPORT, AND YOU SAW A BOOK.
>> IS THIS TRUE?
AN AIRPORT, AND YOU SAW A BOOK.
>> IS THIS TRUE?
>> IT'S CALLED "GAY NEW YORK," >> IS THIS TRUE?
>> IT'S CALLED "GAY NEW YORK," BY GEORGE CHAUNCEY, >> IT'S CALLED "GAY NEW YORK," BY GEORGE CHAUNCEY, AND I GRABBED IT, AND BY GEORGE CHAUNCEY, AND I GRABBED IT, AND I WAS ON THE PLANE, AND I WAS AND I GRABBED IT, AND I WAS ON THE PLANE, AND I WAS READING IT, AND I SAW THE WORD I WAS ON THE PLANE, AND I WAS READING IT, AND I SAW THE WORD NANCE.
THEY SAID THE BURLESQUE READING IT, AND I SAW THE WORD NANCE.
THEY SAID THE BURLESQUE BALCONIES WERE FREQUENTED BY THE NANCE.
THEY SAID THE BURLESQUE BALCONIES WERE FREQUENTED BY THE NANCE ELEMENT IN A POLICE BALCONIES WERE FREQUENTED BY THE NANCE ELEMENT IN A POLICE REPORT.
AND I WENT, "OH, NANCE."
NANCE ELEMENT IN A POLICE REPORT.
AND I WENT, "OH, NANCE."
I REMEMBER THAT FROM THE COMEDY REPORT.
AND I WENT, "OH, NANCE."
I REMEMBER THAT FROM THE COMEDY SKETCHES.
I REMEMBER THAT FROM THE COMEDY SKETCHES.
>> NO, WAIT A MINUTE.
THESE SKETCHES.
>> NO, WAIT A MINUTE.
THESE COMEDY SKETCHES WERE THE >> NO, WAIT A MINUTE.
THESE COMEDY SKETCHES WERE THE ORIGINAL-- COMEDY SKETCHES WERE THE ORIGINAL-- >> THESE ARE ORIGINAL STUFF THAT ORIGINAL-- >> THESE ARE ORIGINAL STUFF THAT I HAD SURMISED, REWRITTEN.
I'VE >> THESE ARE ORIGINAL STUFF THAT I HAD SURMISED, REWRITTEN.
I'VE TALKED TO A LOT OF MEN OVER THE I HAD SURMISED, REWRITTEN.
I'VE TALKED TO A LOT OF MEN OVER THE AGE OF, LIKE, 60, WHO HAD TALKED TO A LOT OF MEN OVER THE AGE OF, LIKE, 60, WHO HAD MISSPENT YOUTHS IN BURLESQUE AGE OF, LIKE, 60, WHO HAD MISSPENT YOUTHS IN BURLESQUE HOUSES, AND THEN I FLIPPED ON MY MISSPENT YOUTHS IN BURLESQUE HOUSES, AND THEN I FLIPPED ON MY COMPUTER, AND SOMEONE HAD SENT HOUSES, AND THEN I FLIPPED ON MY COMPUTER, AND SOMEONE HAD SENT ME A BERNICE ABBOTT PHOTOGRAPH COMPUTER, AND SOMEONE HAD SENT ME A BERNICE ABBOTT PHOTOGRAPH OF RIGHT AROUND THE CORNER ME A BERNICE ABBOTT PHOTOGRAPH OF RIGHT AROUND THE CORNER FROM MY HOUSE OF THE IRVING OF RIGHT AROUND THE CORNER FROM MY HOUSE OF THE IRVING PLACE THEATER.
FROM MY HOUSE OF THE IRVING PLACE THEATER.
>> OH, WOW.
PLACE THEATER.
>> OH, WOW.
>> AS LORELEI LEE SAYS, "FATE >> OH, WOW.
>> AS LORELEI LEE SAYS, "FATE KEEPS ON HAPPENING."
>> AS LORELEI LEE SAYS, "FATE KEEPS ON HAPPENING."
I MEAN, IT JUST SORT OF ALL CAME KEEPS ON HAPPENING."
I MEAN, IT JUST SORT OF ALL CAME TOGETHER, AND I SAT DOWN AND I I MEAN, IT JUST SORT OF ALL CAME TOGETHER, AND I SAT DOWN AND I WROTE THE FIRST SCENE OF THE TOGETHER, AND I SAT DOWN AND I WROTE THE FIRST SCENE OF THE PLAY PRETTY MUCH AS IT WOUND UP WROTE THE FIRST SCENE OF THE PLAY PRETTY MUCH AS IT WOUND UP ON BROADWAY, AND WHEN I WAS PLAY PRETTY MUCH AS IT WOUND UP ON BROADWAY, AND WHEN I WAS DONE, I LOOKED AT IT AND I WENT, ON BROADWAY, AND WHEN I WAS DONE, I LOOKED AT IT AND I WENT, "THIS IS IMPOSSIBLE TO PERFORM DONE, I LOOKED AT IT AND I WENT, "THIS IS IMPOSSIBLE TO PERFORM LET ALONE STAGE."
AND I SAID, "THIS IS IMPOSSIBLE TO PERFORM LET ALONE STAGE."
AND I SAID, "WHO WOULD EVER DO THIS PART?"
LET ALONE STAGE."
AND I SAID, "WHO WOULD EVER DO THIS PART?"
AND I THOUGHT, "WELL, NATHAN "WHO WOULD EVER DO THIS PART?"
AND I THOUGHT, "WELL, NATHAN LANE COULD DO IT."
AND I THOUGHT, "WELL, NATHAN LANE COULD DO IT."
WHEN I'M LANE COULD DO IT."
WHEN I'M SKIPPING DOWN THE STREET WHEN I'M SKIPPING DOWN THE STREET AND I SEE TWO BIG OLE FEET SKIPPING DOWN THE STREET AND I SEE TWO BIG OLE FEET I SAY, "HI..." AND I SEE TWO BIG OLE FEET I SAY, "HI..." >> TO SEE PEOPLE GET I SAY, "HI..." >> TO SEE PEOPLE GET UNCOMFORTABLE WITH THE OVERT >> TO SEE PEOPLE GET UNCOMFORTABLE WITH THE OVERT EFFEMINACY OF THE CHARACTER UNCOMFORTABLE WITH THE OVERT EFFEMINACY OF THE CHARACTER AND...WITH THE KIND OF THE EFFEMINACY OF THE CHARACTER AND...WITH THE KIND OF THE SILLINESS, I MEAN, DOWNRIGHT AND...WITH THE KIND OF THE SILLINESS, I MEAN, DOWNRIGHT SILLINESS, AND YOU THINK-- SILLINESS, I MEAN, DOWNRIGHT SILLINESS, AND YOU THINK-- AND THEN I WOULD START TO THINK, SILLINESS, AND YOU THINK-- AND THEN I WOULD START TO THINK, WELL, IS IT ANY DIFFERENT FROM, AND THEN I WOULD START TO THINK, WELL, IS IT ANY DIFFERENT FROM, YOU KNOW, SOME RESTORATION, SIR WELL, IS IT ANY DIFFERENT FROM, YOU KNOW, SOME RESTORATION, SIR FOPPINGTON FLOP OR WHOEVER THAT YOU KNOW, SOME RESTORATION, SIR FOPPINGTON FLOP OR WHOEVER THAT CHAR--IT GOES WAY BACK... FOPPINGTON FLOP OR WHOEVER THAT CHAR--IT GOES WAY BACK... >> IT SURE DOES.
CHAR--IT GOES WAY BACK... >> IT SURE DOES.
>> THAT CHARACTER, AND WHAT WAS >> IT SURE DOES.
>> THAT CHARACTER, AND WHAT WAS GREAT ABOUT WHAT DOUG HAD >> THAT CHARACTER, AND WHAT WAS GREAT ABOUT WHAT DOUG HAD WRITTEN WAS THERE IS A KIND OF GREAT ABOUT WHAT DOUG HAD WRITTEN WAS THERE IS A KIND OF INNOCENCE TO IT THAT KIND OF WRITTEN WAS THERE IS A KIND OF INNOCENCE TO IT THAT KIND OF TAKES THE ONUS OFF OF ALL THE INNOCENCE TO IT THAT KIND OF TAKES THE ONUS OFF OF ALL THE DOUBLE ENTENDRES AND THE TAKES THE ONUS OFF OF ALL THE DOUBLE ENTENDRES AND THE SOMETIMES SEXUAL NATURE OF WHAT DOUBLE ENTENDRES AND THE SOMETIMES SEXUAL NATURE OF WHAT HE MAY BE DISCUSSING.
THERE IS A SOMETIMES SEXUAL NATURE OF WHAT HE MAY BE DISCUSSING.
THERE IS A KIND OF INNOCENCE ABOUT IT.
HE MAY BE DISCUSSING.
THERE IS A KIND OF INNOCENCE ABOUT IT.
"DID I SAY THAT?"
KIND OF INNOCENCE ABOUT IT.
"DID I SAY THAT?"
>> I BROUGHT THESE HERE MUSIC "DID I SAY THAT?"
>> I BROUGHT THESE HERE MUSIC BOOKS.
>> I BROUGHT THESE HERE MUSIC BOOKS.
>> OH, I'M USUALLY MORE BOOKS.
>> OH, I'M USUALLY MORE COMFORTABLE WITH A HYMN.
>> OH, I'M USUALLY MORE COMFORTABLE WITH A HYMN.
WHAT?
COMFORTABLE WITH A HYMN.
WHAT?
>> THE THING THAT FASCINATED ME WHAT?
>> THE THING THAT FASCINATED ME WAS HOW VULNERABLE AND ALMOST >> THE THING THAT FASCINATED ME WAS HOW VULNERABLE AND ALMOST NAKED THE COMEDY SCENES ARE, HOW WAS HOW VULNERABLE AND ALMOST NAKED THE COMEDY SCENES ARE, HOW HONEST AND INNOCENT THEY ARE IN NAKED THE COMEDY SCENES ARE, HOW HONEST AND INNOCENT THEY ARE IN SPITE OF THE FACT THAT THE COPS HONEST AND INNOCENT THEY ARE IN SPITE OF THE FACT THAT THE COPS ARE LISTENING AND READY TO RAID SPITE OF THE FACT THAT THE COPS ARE LISTENING AND READY TO RAID THE THEATER.
ARE LISTENING AND READY TO RAID THE THEATER.
>> WELL, I'M JUST A BIG NANCY THE THEATER.
>> WELL, I'M JUST A BIG NANCY NANCE.
I WANT YOU TO CHANGE ME.
>> WELL, I'M JUST A BIG NANCY NANCE.
I WANT YOU TO CHANGE ME.
>> WELL, COME ON OVER TO THE NANCE.
I WANT YOU TO CHANGE ME.
>> WELL, COME ON OVER TO THE STOOL.
>> WELL, COME ON OVER TO THE STOOL.
>> OH, FLIP THAT THING OVER AND STOOL.
>> OH, FLIP THAT THING OVER AND YOU COULD SIT 3 OF MY FRIENDS ON >> OH, FLIP THAT THING OVER AND YOU COULD SIT 3 OF MY FRIENDS ON IT WITH ME.
WHO SAID THAT?
YOU COULD SIT 3 OF MY FRIENDS ON IT WITH ME.
WHO SAID THAT?
>> FROM THE MOMENT CHAUNCEY IT WITH ME.
WHO SAID THAT?
>> FROM THE MOMENT CHAUNCEY ENTERS THAT LAST SKETCH, THE >> FROM THE MOMENT CHAUNCEY ENTERS THAT LAST SKETCH, THE FRANKENSTEIN SKETCH, THE JOKES ENTERS THAT LAST SKETCH, THE FRANKENSTEIN SKETCH, THE JOKES BECOME ACTUALLY FRANKENSTEIN SKETCH, THE JOKES BECOME ACTUALLY DEROGATORY TO GAY MEN BECOME ACTUALLY DEROGATORY TO GAY MEN FROM THEN ON FOR THE REST OF DEROGATORY TO GAY MEN FROM THEN ON FOR THE REST OF THE SHOW... FROM THEN ON FOR THE REST OF THE SHOW... >> YES, THEY DO.
THE SHOW... >> YES, THEY DO.
>> IN A WAY THAT THEY NEVER ARE.
>> YES, THEY DO.
>> IN A WAY THAT THEY NEVER ARE.
WHAT I LIKED ABOUT THE NANCE >> IN A WAY THAT THEY NEVER ARE.
WHAT I LIKED ABOUT THE NANCE WHEN I WOULD HEAR THESE OLD WHAT I LIKED ABOUT THE NANCE WHEN I WOULD HEAR THESE OLD SKETCHES OR FIND VIDEOS OF THEM WHEN I WOULD HEAR THESE OLD SKETCHES OR FIND VIDEOS OF THEM OR ANYTHING I COULD FIND IS THAT SKETCHES OR FIND VIDEOS OF THEM OR ANYTHING I COULD FIND IS THAT THE NANCE SOMEHOW ALWAYS OR ANYTHING I COULD FIND IS THAT THE NANCE SOMEHOW ALWAYS TRIUMPHED.
THE NANCE SOMEHOW ALWAYS TRIUMPHED.
>> THERE WAS THAT PERIOD OF THE TRIUMPHED.
>> THERE WAS THAT PERIOD OF THE '20s... >> THERE WAS THAT PERIOD OF THE '20s... >> YEAH.
THEY CALL IT THE PANSY '20s... >> YEAH.
THEY CALL IT THE PANSY CRAZE.
>> YEAH.
THEY CALL IT THE PANSY CRAZE.
>> THE PANSY CRAZE.
I FEEL ONE CRAZE.
>> THE PANSY CRAZE.
I FEEL ONE COMING ON RIGHT NOW.
>> THE PANSY CRAZE.
I FEEL ONE COMING ON RIGHT NOW.
>> HA HA!
I HAD TO CLOSE THE COMING ON RIGHT NOW.
>> HA HA!
I HAD TO CLOSE THE DOOR BECAUSE IT WAS GETTING A >> HA HA!
I HAD TO CLOSE THE DOOR BECAUSE IT WAS GETTING A LITTLE LOUD.
DOOR BECAUSE IT WAS GETTING A LITTLE LOUD.
IN THE '20s, EVERY NIGHT CLUB LITTLE LOUD.
IN THE '20s, EVERY NIGHT CLUB HAD A PANSY, WHICH WAS THEIR IN THE '20s, EVERY NIGHT CLUB HAD A PANSY, WHICH WAS THEIR NANCE, WHICH WAS THEIR GAY MAN, HAD A PANSY, WHICH WAS THEIR NANCE, WHICH WAS THEIR GAY MAN, AND IF YOU READ SOME OF THE NANCE, WHICH WAS THEIR GAY MAN, AND IF YOU READ SOME OF THE THINGS THAT THEY WERE SAYING, AND IF YOU READ SOME OF THE THINGS THAT THEY WERE SAYING, THEY WERE VERY OUT THERE THINGS THAT THEY WERE SAYING, THEY WERE VERY OUT THERE COMMENTS, AND THEY WOULD TEASE THEY WERE VERY OUT THERE COMMENTS, AND THEY WOULD TEASE THE STRAIGHT MEN IN THE AUDIENCE COMMENTS, AND THEY WOULD TEASE THE STRAIGHT MEN IN THE AUDIENCE RELENTLESSLY, AWFULLY.
THE STRAIGHT MEN IN THE AUDIENCE RELENTLESSLY, AWFULLY.
>> YOU KNOW, EMBARRASSINGLY.
RELENTLESSLY, AWFULLY.
>> YOU KNOW, EMBARRASSINGLY.
>> YEAH, JUST HUMILIATE THEM, >> YOU KNOW, EMBARRASSINGLY.
>> YEAH, JUST HUMILIATE THEM, AND THE PEOPLE JUST LOVED IT, >> YEAH, JUST HUMILIATE THEM, AND THE PEOPLE JUST LOVED IT, COULDN'T GET ENOUGH, AND THEN AND THE PEOPLE JUST LOVED IT, COULDN'T GET ENOUGH, AND THEN THE DEPRESSION HIT, AND FOR COULDN'T GET ENOUGH, AND THEN THE DEPRESSION HIT, AND FOR WHATEVER--YOU KNOW, THE WAY THE THE DEPRESSION HIT, AND FOR WHATEVER--YOU KNOW, THE WAY THE WIND SHIFTS, YOU CAN TELL.
WHATEVER--YOU KNOW, THE WAY THE WIND SHIFTS, YOU CAN TELL.
>> YEAH, YEAH.
WIND SHIFTS, YOU CAN TELL.
>> YEAH, YEAH.
>> YEAH.
>> YEAH, YEAH.
>> YEAH.
>> AND SUDDENLY IT WAS NOT... >> YEAH.
>> AND SUDDENLY IT WAS NOT... >> FUNNY ANYMORE.
>> AND SUDDENLY IT WAS NOT... >> FUNNY ANYMORE.
>> NOW WHAT MADE YOU DECIDE TO >> FUNNY ANYMORE.
>> NOW WHAT MADE YOU DECIDE TO MAKE HIM A REPUBLICAN?
>> NOW WHAT MADE YOU DECIDE TO MAKE HIM A REPUBLICAN?
>> YOU KNOW, YOU LOOK-- MAKE HIM A REPUBLICAN?
>> YOU KNOW, YOU LOOK-- >> 'CAUSE MANY PEOPLE BROUGHT IT >> YOU KNOW, YOU LOOK-- >> 'CAUSE MANY PEOPLE BROUGHT IT UP.
>> 'CAUSE MANY PEOPLE BROUGHT IT UP.
>> YES, THEY DID.
UP.
>> YES, THEY DID.
>> IT WAS A BIG-- >> YES, THEY DID.
>> IT WAS A BIG-- >> DID THEY?
>> IT WAS A BIG-- >> DID THEY?
>> IT WAS HOT.
>> DID THEY?
>> IT WAS HOT.
>> IT WAS MAYBE, YEAH, MORE >> IT WAS HOT.
>> IT WAS MAYBE, YEAH, MORE UPSETTING THAN ANYTHING WAS THAT >> IT WAS MAYBE, YEAH, MORE UPSETTING THAN ANYTHING WAS THAT HE WAS REPUBLICAN.
UPSETTING THAN ANYTHING WAS THAT HE WAS REPUBLICAN.
>> I TELL YOU, THOUGH, CHAUNCE, HE WAS REPUBLICAN.
>> I TELL YOU, THOUGH, CHAUNCE, YOU ARE REALLY ONE FOR THE >> I TELL YOU, THOUGH, CHAUNCE, YOU ARE REALLY ONE FOR THE BOOKS.
I MEAN, A PANSY WHO IS YOU ARE REALLY ONE FOR THE BOOKS.
I MEAN, A PANSY WHO IS FOR THE REPUBLICANS.
THAT IS BOOKS.
I MEAN, A PANSY WHO IS FOR THE REPUBLICANS.
THAT IS LIKE A NEGRO KLAN MEMBER.
FOR THE REPUBLICANS.
THAT IS LIKE A NEGRO KLAN MEMBER.
>> I WANTED TO FIND THE VOICE OF LIKE A NEGRO KLAN MEMBER.
>> I WANTED TO FIND THE VOICE OF THE REPUBLICAN PARTY FROM THE >> I WANTED TO FIND THE VOICE OF THE REPUBLICAN PARTY FROM THE 1930s, AND TO FIND THE RESONANCE THE REPUBLICAN PARTY FROM THE 1930s, AND TO FIND THE RESONANCE FOR TODAY.
1930s, AND TO FIND THE RESONANCE FOR TODAY.
>> MM-HMM.
FOR TODAY.
>> MM-HMM.
>> BUT TO ALSO HAVE IT BE AS >> MM-HMM.
>> BUT TO ALSO HAVE IT BE AS PURE AS I COULD MAKE IT FOR WHAT >> BUT TO ALSO HAVE IT BE AS PURE AS I COULD MAKE IT FOR WHAT IN THE LATE '30s REPUBLICAN WAS, PURE AS I COULD MAKE IT FOR WHAT IN THE LATE '30s REPUBLICAN WAS, WHICH WAS ALSO ABOUT--MUCH MORE IN THE LATE '30s REPUBLICAN WAS, WHICH WAS ALSO ABOUT--MUCH MORE ABOUT SELF-DETERMINATION.
WHICH WAS ALSO ABOUT--MUCH MORE ABOUT SELF-DETERMINATION.
>> BUT IT CERTAINLY MADE SENSE ABOUT SELF-DETERMINATION.
>> BUT IT CERTAINLY MADE SENSE TO ME, BUT...IN THE WAY I WAS >> BUT IT CERTAINLY MADE SENSE TO ME, BUT...IN THE WAY I WAS SORT OF BUILDING THIS CHARACTER TO ME, BUT...IN THE WAY I WAS SORT OF BUILDING THIS CHARACTER AND HIS BACK STORY, AND YOU SORT OF BUILDING THIS CHARACTER AND HIS BACK STORY, AND YOU KNOW, EVERYTHING WAS HARD WON AND HIS BACK STORY, AND YOU KNOW, EVERYTHING WAS HARD WON FOR HIM, THAT HE HAD TO DO ON KNOW, EVERYTHING WAS HARD WON FOR HIM, THAT HE HAD TO DO ON HIS OWN, AND HE WASN'T GIVEN ANY FOR HIM, THAT HE HAD TO DO ON HIS OWN, AND HE WASN'T GIVEN ANY HELP, AND SO IT MADE--TO ME, HIS OWN, AND HE WASN'T GIVEN ANY HELP, AND SO IT MADE--TO ME, THAT MADE SENSE.
>> I HATE IT WHEN YOU WIN.
>> I HATE IT WHEN YOU WIN.
>> SO MANY PEOPLE WOULD COME UP >> I HATE IT WHEN YOU WIN.
>> SO MANY PEOPLE WOULD COME UP TO ME AT THE END OF THE PLAY >> SO MANY PEOPLE WOULD COME UP TO ME AT THE END OF THE PLAY WHEN I WOULD STOP BY TO SEE IT.
TO ME AT THE END OF THE PLAY WHEN I WOULD STOP BY TO SEE IT.
STRANGERS WOULD COME UP AND SAY, WHEN I WOULD STOP BY TO SEE IT.
STRANGERS WOULD COME UP AND SAY, "COULDN'T THEY RUN AWAY STRANGERS WOULD COME UP AND SAY, "COULDN'T THEY RUN AWAY TOGETHER?"
"COULDN'T THEY RUN AWAY TOGETHER?"
>> I KNOW.
TOGETHER?"
>> I KNOW.
>> "COULDN'T THEY GO TO CANADA?"
>> I KNOW.
>> "COULDN'T THEY GO TO CANADA?"
>> I KNOW, I KNOW.
>> "COULDN'T THEY GO TO CANADA?"
>> I KNOW, I KNOW.
>> "CAN'T THEY GO TO ENGLAND?
>> I KNOW, I KNOW.
>> "CAN'T THEY GO TO ENGLAND?
COULDN'T THEY--" >> "CAN'T THEY GO TO ENGLAND?
COULDN'T THEY--" >> THEY WANTED A HAPPY ENDING.
COULDN'T THEY--" >> THEY WANTED A HAPPY ENDING.
>> "WHY DIDN'T HE GO ON TOUR?"
>> THEY WANTED A HAPPY ENDING.
>> "WHY DIDN'T HE GO ON TOUR?"
>> IT'S INTERESTING.
PEOPLE, >> "WHY DIDN'T HE GO ON TOUR?"
>> IT'S INTERESTING.
PEOPLE, THEY THINK BURLESQUE, AND, OH... >> IT'S INTERESTING.
PEOPLE, THEY THINK BURLESQUE, AND, OH... >> IT'S GONNA BE SILLY.
THEY THINK BURLESQUE, AND, OH... >> IT'S GONNA BE SILLY.
>> IT'S GONNA BE FUN, BUT I >> IT'S GONNA BE SILLY.
>> IT'S GONNA BE FUN, BUT I MEAN, IT'S ALL THERE.
>> IT'S GONNA BE FUN, BUT I MEAN, IT'S ALL THERE.
>> OUR CULTURE IS WIRED FOR A MEAN, IT'S ALL THERE.
>> OUR CULTURE IS WIRED FOR A HAPPY ENDING.
>> OUR CULTURE IS WIRED FOR A HAPPY ENDING.
>> IT'S NOT WHAT I SHOULD BE HAPPY ENDING.
>> IT'S NOT WHAT I SHOULD BE HAVING.
>> IT'S NOT WHAT I SHOULD BE HAVING.
>> THE MOST TRAGIC LINE IN THE HAVING.
>> THE MOST TRAGIC LINE IN THE PLAY.
>> THE MOST TRAGIC LINE IN THE PLAY.
>> IN THE PLAY.
PLAY.
>> IN THE PLAY.
>> IT'S NOT WHAT I SHOULD BE >> IN THE PLAY.
>> IT'S NOT WHAT I SHOULD BE HAVING.
>> IT'S NOT WHAT I SHOULD BE HAVING.
>> HOLY MO-- HAVING.
>> HOLY MO-- >> ALWAYS KILLS ME.
>> HOLY MO-- >> ALWAYS KILLS ME.
>> WHEN YOU TELL SOMEONE THAT >> ALWAYS KILLS ME.
>> WHEN YOU TELL SOMEONE THAT THEY'RE LESS THAN NORMAL, WHAT >> WHEN YOU TELL SOMEONE THAT THEY'RE LESS THAN NORMAL, WHAT DO THEY THINK OF THEMSELVES?
THEY'RE LESS THAN NORMAL, WHAT DO THEY THINK OF THEMSELVES?
>> EXACTLY.
DO THEY THINK OF THEMSELVES?
>> EXACTLY.
>> AND THEN WHAT CHOICES DO THEY >> EXACTLY.
>> AND THEN WHAT CHOICES DO THEY MAKE IN THEIR LIVES?
>> AND THEN WHAT CHOICES DO THEY MAKE IN THEIR LIVES?
>> AND WHAT DID YOU EXPECT?
MAKE IN THEIR LIVES?
>> AND WHAT DID YOU EXPECT?
>> IT WAS VERY CLEAR AT THE END >> AND WHAT DID YOU EXPECT?
>> IT WAS VERY CLEAR AT THE END THAT NED, BROKEN AS HE WAS, >> IT WAS VERY CLEAR AT THE END THAT NED, BROKEN AS HE WAS, WOULD GO ON.
THAT NED, BROKEN AS HE WAS, WOULD GO ON.
>> YEAH.
WOULD GO ON.
>> YEAH.
>> AND WHAT A GREAT EXPERIENCE, >> YEAH.
>> AND WHAT A GREAT EXPERIENCE, WHAT A GREAT FIRST RELATIONSHIP >> AND WHAT A GREAT EXPERIENCE, WHAT A GREAT FIRST RELATIONSHIP TO HAVE HAD, WHAT AN EDUCATION WHAT A GREAT FIRST RELATIONSHIP TO HAVE HAD, WHAT AN EDUCATION HE HAD.
TO HAVE HAD, WHAT AN EDUCATION HE HAD.
>> YOU KNOW, IN THE VERY FIRST HE HAD.
>> YOU KNOW, IN THE VERY FIRST SCENE, HE SAYS, YOU KNOW, "YOU >> YOU KNOW, IN THE VERY FIRST SCENE, HE SAYS, YOU KNOW, "YOU COULD COME HOME WITH ME, YOU SCENE, HE SAYS, YOU KNOW, "YOU COULD COME HOME WITH ME, YOU COULD DO THIS, OR YOU COULD WALK COULD COME HOME WITH ME, YOU COULD DO THIS, OR YOU COULD WALK AWAY AND NEVER LOOK AT MY UGLY COULD DO THIS, OR YOU COULD WALK AWAY AND NEVER LOOK AT MY UGLY FACE AGAIN."
AND I THINK, IF AWAY AND NEVER LOOK AT MY UGLY FACE AGAIN."
AND I THINK, IF THAT DIDN'T TELL YOU WHERE THIS FACE AGAIN."
AND I THINK, IF THAT DIDN'T TELL YOU WHERE THIS WAS GOING, THEN YOU AIN'T THAT DIDN'T TELL YOU WHERE THIS WAS GOING, THEN YOU AIN'T LISTENING.
WAS GOING, THEN YOU AIN'T LISTENING.
>> I CAN'T...DO THIS...
LISTENING.
>> I CAN'T...DO THIS... >> IT DIDN'T OCCUR TO ME AT THE >> I CAN'T...DO THIS... >> IT DIDN'T OCCUR TO ME AT THE OUTSET THAT WE'D END UP HERE, >> IT DIDN'T OCCUR TO ME AT THE OUTSET THAT WE'D END UP HERE, DISCUSSING THIS, BEING PREPARED OUTSET THAT WE'D END UP HERE, DISCUSSING THIS, BEING PREPARED FOR A FILM, YOU KNOW, DISCUSSING THIS, BEING PREPARED FOR A FILM, YOU KNOW, EXPERIENCE, AND I HAVE TO SAY FOR A FILM, YOU KNOW, EXPERIENCE, AND I HAVE TO SAY HOW PROUD I AM THAT AT THIS EXPERIENCE, AND I HAVE TO SAY HOW PROUD I AM THAT AT THIS JUNCTURE IN OUR LIVES, BECAUSE HOW PROUD I AM THAT AT THIS JUNCTURE IN OUR LIVES, BECAUSE WE DIDN'T TAKE IT BECAUSE IT WAS JUNCTURE IN OUR LIVES, BECAUSE WE DIDN'T TAKE IT BECAUSE IT WAS SAFE, WE DIDN'T TAKE IT BECAUSE WE DIDN'T TAKE IT BECAUSE IT WAS SAFE, WE DIDN'T TAKE IT BECAUSE IT WAS GONNA BE A SURE FIRE SAFE, WE DIDN'T TAKE IT BECAUSE IT WAS GONNA BE A SURE FIRE ANYTHING.
WE TOOK IT BECAUSE WE IT WAS GONNA BE A SURE FIRE ANYTHING.
WE TOOK IT BECAUSE WE 3 WERE MOVED BY IT, WE WERE ANYTHING.
WE TOOK IT BECAUSE WE 3 WERE MOVED BY IT, WE WERE INVOLVED IN IT, AND IT SPOKE TO 3 WERE MOVED BY IT, WE WERE INVOLVED IN IT, AND IT SPOKE TO US.
INVOLVED IN IT, AND IT SPOKE TO US.
>> [MUSIC PLAYING] US.
>> [MUSIC PLAYING] >> IT'S PART OF THE AMERICAN >> [MUSIC PLAYING] >> IT'S PART OF THE AMERICAN LIFE.
IT IS PART OF WHO WE ARE >> IT'S PART OF THE AMERICAN LIFE.
IT IS PART OF WHO WE ARE AS AMERICANS WHETHER YOU'RE GAY LIFE.
IT IS PART OF WHO WE ARE AS AMERICANS WHETHER YOU'RE GAY OR STRAIGHT, THAT WE WERE IN THE AS AMERICANS WHETHER YOU'RE GAY OR STRAIGHT, THAT WE WERE IN THE STRUGGLE, AND WE WERE A PART OF OR STRAIGHT, THAT WE WERE IN THE STRUGGLE, AND WE WERE A PART OF THIS LIFE, AND WE WERE THERE.
STRUGGLE, AND WE WERE A PART OF THIS LIFE, AND WE WERE THERE.
WE WERE THERE.
THIS LIFE, AND WE WERE THERE.
WE WERE THERE.
>> [MUSIC PLAYING] WE WERE THERE.
>> [MUSIC PLAYING] I SAID, "HI" >> [MUSIC PLAYING] I SAID, "HI" SIMPLY "HI" I SAY "HI, HI" I SAY "HI, HI" SIMPLY "HI" I SAY "HI, HI" SIMPLY "HI" "HI, HI" SIMPLY "HI" SIMPLY "HI" "HI, HI" SIMPLY "HI" "HI, HI..."
Live From Lincoln Center is made possible with support from the Family of Robert Wood Johnson III, the Audrey and Martin Gruss Foundation, The Robert and Renée Belfer Family Foundation, Mercedes T. Bass, and the National Endowment for the Arts.