On the eve of his third Zoom play, a conversation with playwright Richard Nelson.
. Each one was set on a different weighty night—September 11, 2011; the night of the 2012 presidential election; and the 50th anniversary of the assassination of John F. Kennedy in 1963—which both provided fodder for conversation and impressed on the audience a sense of intimate immediacy.
Clockwise, from top left: Jay O. Sanders, Maryann Plunkett, Sally Murphy, Stephen Kunken, and Laila Robins inYou were addressing, in these Zoom plays, a mixture of people who were encountering the Apple family for the first time, and those who have known them for years. How did you go about honoring both of those perspectives?
The reason for setting the original four Apple Family plays on specific event days was to create the sense with the audience that we are all going through it—we were all experiencing the 10th anniversary of 9/11 with the Apples. It’s to put the audience in the same space and time as the play and the characters. But I don’t do that [with the Zoom plays] because we are so obviously in an event that’s not a singular—it’s not a one-day event.
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