Alec Baldwin, actor
"In New York City, where there is an abundance of performing
arts programming, few institutions attain the status of The Public
Theater. The Public Theater has had an incalculable impact on the
performing arts in the greatest performing arts city in America."
Angela Bassett, actor
"The approach of summer brings with it gleeful anticipation
of Shakespeare in Central Park. It’s absolutely vital, consistently
brilliant, always exciting, wonderfully cross-cultural and absolutely
available to all."
Jimmy Smits, actor
"I have been seeing productions at The Public since
I was in high school over twenty-five years ago. It was the only theater
in New York I felt connected to— because of the performances
by Raul Julia and James Earl Jones and the Public’s commitment
to diversity. So when I graduated from college it was a natural thing
that I came to a general audition at The Public. I would have been
happy to do anything at the theater, but I walked in and a rollercoaster
happened. Rosemary Tischler saw me in the general auditions. Then
I auditioned for Joe Papp himself the next day. Within a week I was
cast in a show in the Park. I was playing Horatio in Hamlet,
And three days after that Papp said to me, “I love you, I love
your work, but you are too young for the part.” And he bumped
me down to be a spear carrier. But I was able to get my Equity card,
become a “professional” actor, and be involved in a play
that was being directed by Mr. Papp himself! I was ecstatic. I would
have been content being an intern and stuffing envelopes."
John Guare, playwright
"I came to the public in the spring of 1971 to help Mel Shapiro
reduce Shakespeare’s Two Gentlemen of Verona to a 90
minute structure to tour the five boroughs and play in the park. Raul
Julia would be the lead. Galt Macdermot was the composer in residence
that summer and we decided to have a few songs that would let the
street audiences in on the action of the play. The few songs mushroomed
to thirty.
The play was a great success. Producers like David Merrick wanted to move it to Broadway. Joe Papp was ambivalent about the show as he had been on vacation during the time we put it together and had no input on its creation. Bernard Gersten had the idea not to give the show away, as they had Hair, but rather raise the money themselves and have The Public produce it and keep any profits. It was the first time a not-for-profit theater had done anything like this. It’s now the model and dream of every not-for-profit. The show went terrifically on Broadway.
I got angry at Joe who at one time gave an interview in which he claimed that he had written the show. When I asked him why he had done that, he said, 'Do you think I like to? But I’m trying to develop the image of the Shakespeare Festival theater in the mind of the public and an institution needs a public face the way the Jolly Green Giant or Uncle Ben’s represent their products.' Okay.
Two Gents won the Tony for Best Musical of 1972 and was produced all over the world. Mel and I won the Tony for best libretto. Joe and Bernie produced my plays Rich and Famous and Marco Polo Sings a Solo. The theater was in a fantastic moment. Chorus Line had already become a legend and given The Shakespeare Festival the financial ability to produce lots of plays. The rehearsals all seemed to be open. Everyone drifting in and out of rehearsals. Great joy energized Lafayette Street. Everyone was there or wanted to be there. Joe indeed became the theater’s face. I became Playwright in Residence in 1976. In 1978 they produced my play Landscape of the Body. Joe said the sweet words, 'You produce Rich and Famous and Marco Polo in hopes that the playwright will come up with a play like this one.' I loved the trust that Joe Papp and Bernard Gersten put in the writer. The text was the central force of this theater.
And now George C. Wolfe has commissioned a play from me for its fiftieth
anniversary season. I can’t tell you how happy I am to be back
working in this paradise on Lafayette Street where I have so many
happy memories that are all based on reality. The Shakespeare Festival
truly changed the face of theater throughout the world. I remember
once being in Nicaragua during the eighties and being brought to meet
a rebel leader. I asked him if hewas afraid of anything. There in the
Central American jungle with a war going on, this rebel leader said,
'Yes. That Joe Papp won’t like my new play.'”
