Bradshaw: Looking up the reviews.

Hwang: That’s what the evening’s all about.

Soloski: One last question: Let’s pretend the revolution has come and you are now responsible for New York theater. What do you do? Do you finally say, we’ve had enough Twelfth Nights, we’re done? It’s your chance to remake the theater for good.

Bradshaw: I really would be trying to create a new theater where there were many different types of plays that pushed boundaries in different ways, exploding people’s conceptions of the world we live in.

Hwang: I would liberate theater from the tyranny of the box office. If you lower the ticket prices, you get a different audience, and then you’re not trying to please a very small portion of the New York theater audience.

Herzog: Ticket price seems to be the most important single thing to change. There’s LCT3, Roundabout Underground, a lot of institutional theaters are catching on to this. Also, we’re not training directors to think in really interesting, exciting ways that are pushing boundaries, it’s so much about writers.

Bradshaw: You might feel different when you start working in Germany, all those director-run theaters. I went to a festival there and there was a female playwright in tears because they had cut 50 percent of her play and suddenly they had a guy in a chicken suit.

Herzog: Actually, they’re doing a reading of 4000 Miles in Vienna, and I just had a phone conversation with the woman who at the end of the conversation, she said, “Oh, and by the way, it’s much too long, so we’ll be cutting it.” Then I remembered what theater is like in Europe.

Bradshaw: That could be a whole other roundtable.

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