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When I was fourteen I happened to meet the celebrated drama critic Jack Kroll.We were in his New York office at Newsweek when he asked me what I wanted to dowith my life. I told him Id like to write plays if I could.Would younow? He handed me a Grove Press edition of Pinter Plays One and said Youdbetter have this then.In 1995 my first play was put on at the NationalTheatreOne night I was knocking around the lighting box just before curtainup Anyone in?The Deputy Stage Manager said Harold Pinter.Yeahyeah.No really.A few days later I received a little note from himcongratulating me on the play. I kept the note in my breast pocket for amonth.In May of 1999 we had lunch. Harold wore a black shirt and drank whitewine. In fact we drank a fair amount of white wine together. Id put it aboutvia our mutual agent Judy Daish that Id be pretty keen to direct TheCaretaker and word came back that Harold would not be averse. So we discussedthe play in an adult fashion director to playwright. I wondered when someonewas going to tap me on the shoulder and wake me from this fantasy.A month ortwo later I called Harold to discuss some bit of production business. He cameto the phone full of beans.Hallo Harold. You sound well.He told methat he was well and that he was writing a new play. He spoke like a man whohad never written a play before thrilled and delighted that the words wereflowing. I was stabbing around in the dark with a new one. Harold asked afterit delicately he treated me like a fellow writer as if all writers areequals all prone to the same problems.When I directed my second playCloser onBroadway Jack Kroll came to interview me for Newsweek magazine. Wechatted away in the lobby of the Algonquin Hotel where I was staying. I toldhim hed given me a book some twenty years ago and that it had been more thanuseful. He was delighted. He spoke at some length and w «
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