EVERY ONCE IN A WHILE, the hubris and pretension of undergraduate student theater leads to something great. Such was the case at Wesleyan University in 1998, when a junior named Thomas Kail got bitten by the theater bug after his friend Anthony Veneziale asked him to perform in an improv version of the German dramatist Heiner Müller’s inscrutable postmodernist play Hamletmachine that, with two African American Ophelias and two white Hamlets, aimed to dissect Race in America. “It was the most ‘Wesleyan’ thing of all time,” Kail says now with a laugh.
Diese Geschichte stammt aus der October 2019-Ausgabe von Vogue.
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Diese Geschichte stammt aus der October 2019-Ausgabe von Vogue.
Starten Sie Ihre 7-tägige kostenlose Testversion von Magzter GOLD, um auf Tausende kuratierte Premium-Storys sowie über 8.000 Zeitschriften und Zeitungen zuzugreifen.
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