“It is unlike anything else I’ve ever attempted in that I remember vividly the first time it occurred to me; for in fact, it did not occur to me, but to Elia Kazan. Kazan asked me at the end of 1958 if I would be interested in working in the Theatre. It was a generous offer, but I did not react with great enthusiasm because I did not then, and don’t now, have much respect for what goes on in the American Theatre. I am not convinced that it is a Theatre; it seems to me a series, merely, of commer...cial speculations, stale, repetitious, and timid. I certainly didn’t see much future for me in that frame-work, and I was profoundly unwilling to risk my morale and my talent—my life—in endeavors which could only increase a level of frustration already dangerously high. Nevertheless, the germ of the play persisted. It is based, very distantly indeed, on the case of Emmett Till—the Negro youth who was murdered in Mississippi in 1955. The murderer in this case was acquitted. (His brother, who helped him do the deed, is now a deputy sheriff in Rulesville, Mississippi.) After his acquittal, he recounted the facts of the murder—for one cannot refer to his performance as a confession—to William Bradford Huie, who wrote it all down in an article called “Wolf Whistle.”MoreLessRead More Read Less
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