Cultures change. And how
they respond to change how they accommodate,
ignore, defy - interests me.
Signature: What are you looking forward to during
your Residency at Signature?
AG: I saw the first Signature play ever, which was
Romulus Linney’s F.M. I’ve always wanted to be
connected with the company and it’s thrilling that
now I am connected with it! I’m delighted to be in
residence not only because of the talent involved,
but also because the very location and space is
conducive to good theatre.
Signature: You’ve been writing since the ‘60s.
How did you first know you wanted to write plays?
AG: I went to Williams College, with Stephen Sondheim. He established a whole new vision for the college
spring musical. Prior to Sondheim, it was a lot of guys
with hairy legs doing a kick chorus because they were
all single-sex colleges at the time. Sondheim changed
all that. He brought in Bennington and Smith girls. He
had a story. When he graduated I took over just because I happened to be around. I can’t play the piano.
And I certainly can’t sustain a plot the way Sondheim
could, so I made it a series of revues, which were very
popular at that time. A good example of the revue form
is the Carol Burnett Show: short acts of song, dance,
music. That’s when I really decided I wanted to be in
the theatre, writing those stupid revues.
Signature: What is your writing process like?
AG: It’s nine to five. I get up. I have my breakfast. I
read the paper. I get itchy at about a quarter to nine.
My office is normally right around the corner from
where I’m having breakfast, so I start writing. I take
time out for lunch