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Playwright Tracy Letts reveals his Midwestern side
NEW YORK (AP) - Tracy Letts is so polite that he warns you right away that he makes a terrible subject of a story.
“Midwestern people don’t make for good interviews,” says the Pulitzer Prize- and Tony Award-winning playwright and actor, who proudly makes his home in Chicago. “We’re taught to hide our light, in a sense.”
He makes fun of in-a-rush New Yorkers who jockey for position on sidewalks and the city’s oh-so-chic restaurants that require him to uncomfortably fold his lanky frame so he can sit at their tiny tables.
“I bet I’ve lived in New York maybe two years if you add up all the time I’ve spent doing stuff. There’s always that first flush of coming to the city: `Oh, my God. This is the greatest place in the world!’ Then I hit a wall at some point and go, `Get me the hell out of here!’”
Because he’s a stoic Midwesterner, Letts didn’t lose his mind after the remarkable reception to his darkly funny story of a family forced to come together by a crisis.
“I suppose I could have bought a lot of heroin and got a big loft downtown and gone up in flames,” he says with a laugh. “But it seemed to me like the thing to do was go back to what I’ve always done, which is writing and acting at Steppenwolf and living in Chicago. And doing so with a higher profile and certainly a greater deal of financial comfort. But it just seemed like the next thing to do. That’s what I’ve done.”
So he followed up “Osage” by writing “Superior Donuts,” a sweet comedy-drama about a rundown Chicago doughnut shop’s proprietor, and then started craving the stage again.
“With the success of `August’ and then `Superior Donuts’ right after that, I was a couple of years away from acting on the stage,” he says. “So you start to feel some part of you _ if you’ve done it all your life _ that needs to get certain things out or expressed in a different way. And then I’ll go through this for a long time and I’ll go, `I’m tired of being in front of people all the time.’”
His other plays include “Man from Nebraska,” a Pulitzer finalist in 2004, “Killer Joe” and “Bug.” His previous acting credits are mostly dark and tough plays, including “Betrayal,” “The Pillowman,” “Homebody/Kabul” and “Glengarry Glen Ross.”
What attracts him to a role is pretty simple: “I guess it’s heat and blood,” he says. “It’s humanity. I can admire colder experiences but I’m not drawn to them. I’m drawn to the hotter experience, especially in the theater.”
Dexter Bullard, who has known Letts since 1991 and directed his play “Bug,” says his friend is like his roots _ relaxed and straightforward. “He is a man of immense heart and immense vision,” says Bullard, who directed the play “Grace” on Broadway this season. “Tracy is like his plays _ simple, direct, truthful, honest and also a little bit naughty.”
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