|Paul Downs Colaizzo|
June 27, 1985 |
Pittsburgh, Pennsylvania, United States
|Education||New York University (BFA)|
I think the hardest thing I've had to learn is that just because people might speak a certain way in real life doesn't mean it's engaging in the theater.
Going on unemployment was a total low point for me, but it was also the point when I promised myself I'd write every day from 9 to 5. I tried to make the most out of every situation that came along.
There's so much to argue about. That was the goal with 'Really Really.' Somebody asked me once, 'How should I feel when I leave?' and I said, 'Hopefully, you're talkative.' I don't really care if you're happy or sad or loved it or hated it or hate me. The goal is that you have something to say, that you have a response.
What I learned was that we Millennials possess one factor that supposedly sets us apart from those who came before us. Is it incredibly clear skin, since most of us took Accutane at some point? No. The recurring description of our generation is 'entitled.'
I'd say there are two kinds of theater: one you end with an answer, one you end with a question.
The South has a way of worshipping appearances – the suburbs are all about presentation and amazing flowers and a beautiful yard and dinner parties that impress people and having the Christmas lights just right.
People in their early 20s are not often considered the target demographic for new plays; musicals have had much more success in exploring that coming-of-age period of life.
A lot of us are secretly scared, for whatever reason, and so we get in our own way. But if you really want something, you have to ask for it.
I never leave a piece of theater that I love and say, 'That was a good point; They made a good point.' I leave, and I feel something.
Going on unemployment was a total low point for me, but it was also the point when I promised myself I'd write every day from 9 to 5.