What’s difficult about this play is maybe
that nothing stands out as being particularly
difficult. It’s just fine little gradations
of one side or the other and the balance is
tipped, more-so than a lot of other plays
that I’ve worked on. It’s very easy to
tip into the melodrama. It’s very easy to
tip into something that’s dry and boring.
But when you skirt the line exactly, the play
comes to life and the rhythms are delightful
and it is buoyant and moving and rhythmic
and driving, kinda like a machine but in a
way that’s full of heart. That duality is
what I do find fascinating about the play
or one of the elements, the zeros and the
ones, the binary. We tend to think about a
lot of issues nowadays as being either or,
black and white. But it’s the interesting
intersections of the gray areas between opposing
factors like art and science, and poetry and
math, and head and heart, and right and left
brain, and differing ranges in viewpoints,
and backgrounds, and ages, and generations
that actually when those come together in
conversation, that’s what makes beautiful
humanity become apparent. And that’s one
of the things that I love about this play.
