From directing to teaching, Gregory Mosher is a man of many talents. In this interview with The Pickwyck, he discusses working with notable playwrights, his newest production Love Letters and the appealing nature of theatre.
What inspired you to begin teaching? You have a dedication to the dramatic arts, teaching currently at Columbia's School of the Arts and lecturing at several Universities. What have you learned from your students? What is the most important lesson you want them to gain from their education?
What was your motivation while you were in college? What was your first big project, or one that meant the most to you?
When you began working as the Head Artistic Director of the Lincoln Center in 1985, you completely revitalized their theatrical life, allowing it to be more diversified by appealing to a younger audience. What is your reflection on theatre audiences today?
You have directed countless classic dramatic works throughout your career, what makes these plays so timeless and appealing to new audiences?
David Mamet wrote this about your directing style: "Mosher's skills are based on respect for the text, the cast, and the audience." Are the audiences different in the West End versus Chicago versus Broadway? Do you consider this when directing a production?
What has been the most challenging work you have directed? What production seemed to pull together seamlessly?
In 2009, you directed the Broadway revival of Arthur Miller's "A View From The Waterfront," seventeen years after your last Broadway directorial project of Tennessee Williams' "A Streetcar Named Desire." What was the factor or factors that spurred you to return to the theatre?
Is there a specific genre that appeals more to you as a director?
What are you most passionate about? Do you have any hobbies outside of your work?
What was your earliest memory of theatre?
You have worked with writers such as David Mamet, Tennessee Williams and Samuel Beckett - what was that collaborative process like? How did they differ from each other?
Did you ever feel intimidated when working with the numerous playwrights you have collaborated with? Were you ever worried that the end result, be it a play or a film, wouldn't live up to their expectations?
Who would you want to collaborate with again (or for the first time) and why?
What prompted you to get involved with "Love Letters"? What is it about this play that resonates with you?
What would you like the audience to take away from "Love Letters"?
What is it like reinventing "Love Letters"? Since the lead characters have been portrayed by several different actors and actresses, from Carol Burnett and Brian Dennehy to Alan Alda and Candice Bergen, how do their portrayals differ from their predecessors?