, is about just that, specifically Bushwick zoomers, a subculture so easy to target they should be wary of rogue bows and arrows as they wait for the L train at Myrtle-Wyckoff, Elf Bar in hand.
GASDA: A lot of things, I think. I’ve been a teacher and tutor for 10 years and I enjoy tutoring and I work with teenagers. A lot of my afternoons are spent talking to younger people, who I guess might not even be Gen Z anymore, but the principle remains. And in theater, there’s always a fresh crop of younger people who are interested, so I write for people that I want to work with. And I’ve realized their version of youth is different from mine.
GASDA: No. I just spend most of my time doing the plays, so it’s sort of not possible to have a sustained relationship with someone who’s not interested in theater.GASDA: No, it’s much more intentional, in the sense that when I’m inspired by someone, I want to write for them. But I also write for friends.
GASDA: Well, there’s an indirect reference at the end of the third scene where Jada’s character says, “There are all these things I can’t talk about, and no one lets me talk about them, but I’m getting kind of angry.” That’s paraphrased. It’s something the cast and I talked a lot about. But I think there’smany terms that if you put them in a play, the whole play becomes terms, and less about what the people are experiencing as. I’m basically a humanist.
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