
Regarding The Roar Of The Greasepaint - The Smell Of The Crowd
Rock and pop (2006)
Autobiographical Sketch (1843)
Context: The utter childishness of our provincial public's verdict upon any art-manifestation that may chance to make its first appearance in their own theatre — for they are only accustomed to witness performances of works already judged and accredited by the greater world outside — brought me to the decision, at no price to produce for the first time a largish work at a minor theatre. When, therefore, I felt again the instinctive need of undertaking a major work, I renounced all idea of obtaining a speedy representation of it in my immediate neighbourhood: I fixed my mind upon some theatre of first rank, that would some day produce it, and troubled myself but little as to where and when that theatre would be found.
Regarding The Roar Of The Greasepaint - The Smell Of The Crowd
Rock and pop (2006)
On his leaving the theater world (as quoted in the book Notable Asian Americans http://smithsonianapa.org/wp-content/uploads/sites/8/2009/10/chin-frank.pdf)
Page 165-166.
Other writings, The Nature of the Judicial Process (1921)
"Jonathan Bailey: Jonathan Bailey: brilliant from top to bottom" in The Times https://www.thetimes.co.uk/article/jonathan-bailey-interview-brilliant-from-top-to-bottom-z6k8fct79 (20 December 2020)
Interview with Paul Fischer at Dark Horizons (2 December 2003).
“In the first days
Of my distracting grief, I found myself
As women wish to be who love their lords.”
Act i, scene 1.
Douglas (first performed 1756)
On avoiding the label of magical realism in “Octavio Solis’s Journey to ‘Mother Road’” https://www.americantheatre.org/2019/09/09/octavio-soliss-journey-to-mother-road/ (American Theatre; Sept 2019)