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Focus on a Playwright
 ITAMAR MOSES
Photo © Henry Leutwyler (Courtesy of the Manhattan Theatre Club)
Itamar Moses is the author of the full-length plays Outrage, Bach at Leipzeg, Celebrity Row, The Four of Us, Yellowjackets, Back Back Back, and Completeness, the musicals Reality! (with Gaby Alter), and Fortress of Solitude (with Michael Friedman and Daniel Aukin), and various short plays and one-acts. His work has appeared Off-Broadway and elsewhere in New York, at regional theatres across the country and in Canada, and is published by Faber & Faber and Samuel French. He has received new play commissions from The McCarter Theater, Playwrights Horizons, Berkeley Repertory Theatre, The Wilma Theater, South Coast Rep, Manhattan Theatre Club, and Lincoln Center. Itamar holds an MFA in Dramatic Writing from NYU and has taught playwriting at Yale and NYU. He is a member of the Dramatists Guild, MCC Playwrights Coalition, Naked Angels Writers Group, and is a New York Theatre Workshop Usual Suspect. He was born in Berkeley, CA and now lives in Brooklyn, NY.
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Q & A with Itamar Moses
Q: When and/or how did you know that you wanted to be a playwright?
A: I knew I wanted to be a writer early on, when I was ten or eleven, which sounds ridiculous, but is true, at least insofar as I went around saying I wanted to be a writer. Playwriting came later, and gradually. There wasn't a lightning bolt moment. I may still not be certain that I want to be a playwright. But maybe that's why I'm cut out for playwriting. Constantly questioning my own circumstances is professionally useful rather than just being a source of anxiety.
Q: What inspires you to write a play?
A: I never know where the inspiration for a play is going to come from. Often it's a kernel of experience that I can't stop thinking about. That kind of compulsion or obsession is usually a beacon saying, "Write about this!" Sometimes it's a situation out in the world, a historical or scientific or political fact that suggests a metaphor for something larger.
It seems important to remain open, to allow my process to change and remain alive, because theatre needs to feel alive in order to move or connect with people. |
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