Because my husband had a job where he was never home I wanted to be the available parent. But they were jobs taken out of necessity. I have always worked, when my kids were little I worked less, but I always worked. For a long time I felt like the most interesting thing about me was that my husband had a really interesting job.
You have to think about the time when you might not be working.
By the same token, you have to think about the rest of your life. So I did some of that but I also did a ton of research… I’m really interested in people who have to start all over again all the time, and that is pretty true in any of the arts but if you’re a performer the minute the show is over you’re right back at the starting line, and that’s a very intense way to live your life.Ĭynthia D’Aprix Sweeney: That tug between art and commerce is always there. And she said they’re terrible at talking about what they do but you have to talk to directors because they’re the ones who can really speak to what happens in a performance. I was talking about this with my friend Jade Chang, who used to work for a magazine in LA where she’d interview a lot of famous people. I don’t know if it was that thing where they didn’t want to look at it too hard for fear of thinking about what you’re doing too much.
I took a lot of people out to lunch and I sort of thought they’d love talking about working.
Maris Kreizman: Tell me about writing about theater people and all they entail.Ĭynthia D’Aprix Sweeney: It was really hard because what I discovered almost immediately was that people who are in the theater are not very good about talking about what they do. On why performers are terrible at talking about what they do: This week on The Maris Review, Cynthia D’Aprix Sweeney joins Maris Kreizman to discuss her new book, Good Company, out now from Ecco Press.
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