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  • The American playwright and director George C. Wolfe, who has won Tonys for “Angels in America: Millennium Approaches” and for “Bring in ‘da Noise/Bring in ‘da Funk, ” is the director of “Lucky Guy, ” opening at the Broadhurst Theater on April 1. It is the last play Nora Ephron wrote before her death last year, and stars Tom Hanks as Mike McAlary, the Pulitzer Prize-winning newspaper journalist who covered the police beat in New York in the 1980s and ’90s. A resident of the city during those years, Wolfe was drawn to the pulse of Ephron’s script and the challenge of recreating such a dynamic time in New York’s history.

    Q. How did you get involved with directing “Lucky Guy”?

    A. Colin Callender, who I knew from his time with HBO, called me up about Nora’s play, and then Bryan Lourd at CAA called me up, and he asked me if I would read it. I knew Nora Ephron casually; I met her probably around the time that I was still running the Public. And so I read the play. And the thing that I instantly fell in love with was the time period in New York, you know? 1985. That was my time in New York, and I have such poetic, fond memories about the rawness, and the decay, and the energy, and the clubs, and the music, and what was happening in the city, and a whole world that I felt like I was a part of. So I agreed to work on it and actually — I’m not actually sure of the whole chronology — but after I read it and they told Nora that I was interested, I ended up bumping into her at some screening that night, and she hugged me and I hugged her, and she said, “Oh, it’s great we’re going to get to work together, ” and then I remember somebody came up and said, “Is it all right if I take your picture? ” So we stood and we took a picture together, and she said to me, “This is the first of many pictures we’re going to take together. ”
    And it ended up that was the only picture we took together.

    What was it like working with Nora?

    We started working together around September of 2011, and she would come to my house once a week, and we talked through e-mails or on the phone as she was working on the script.
    We did a lot of work that fall, and then in January we did this workshop reading with Tom Hanks and a few others. Shortly thereafter, Nora came up with the title “Lucky Guy. ” Because it was always called something like “Stories About McAlary” or “Stories about Mac, ” and then one day, she was always talking about this E. B. White quote, and I am paraphrasing, “When you come to New York you have to be willing to be lucky. ” And so she came in and said, “I think I found the title. It’s ‘Lucky Guy. ’”

    Both you and Mike McAlary were living in New York in the ’80s. Did you know him personally?

    No, not at all, http://www.freetrainningshoes.com/ heap nike tr fit shoe, actually. I was an insignificant, struggling whatever. My first play, “The Colored Museum, ” was done in ’86 at the Public Theater. So I guess roughly around the time that he started getting notoriety, I started getting some as well.

    McAlary’s attorney, Eddie Hayes (played by Christopher McDonald), is still a New York powerhouse attorney. Has he come to see the play?

    Eddie’s been to see it. I met Eddie, I met Jim Dwyer, I met Alice McAlary.

    They’ve been incredibly gracious, and generous and supportive and nurturing. And various cast members playing certain people have started to hang out and talk. It’s very strange, but it’s kind of wonderful. I’ve never worked on a play where we’re inviting the real people.

    McAlary was such a divisive person, and people have such strong opinions about who he was. Did you have an opinion about the man?

    No, I’ve just met him a couple of times, and he was very smart, and very funny, and very friendly and very generous. But one of the things that I think the play talks about is fact versus story, and different people have stopped me on the street and said, “McAlary was a blah blah blah. ” And other people go, “McAlary was an angel and a saint, and he was incredible and a good guy. ” And they have said it about every single character in the play. It’s sort of one of the brilliant constructs of the play. “This is how I saw that person. ” Story versus fact. And it’s one of the things which is, depending on your vantage point, and where you stand in the story, and what your agenda is, and what happened to you, or shouldn’t have happened to you, or did happen to you, or didn’t happen to you, defines how you tell the story. And so that’s what’s so fascinating, just to talk to, at any given moment, 27 people who have 27 different opinions about who anybody is. Particularly in New York where any time a character achieves any level of notoriety or visibility, there are people out there going, “Well, he doesn’t really deserve it, ” or “She doesn’t really deserve it, ” “Well you know why she got there, ” “Well, you know what she really did, ” “Oh my God, this is the most extraordinary person. ” You know? It’s part of the New York mythology. People will explain away, legitimize or celebrate in your accomplishments.

    You’ve done so many different genres of plays and, obviously, hugely successful ones, whether it’s “Angels in America” or “The Normal Heart. ” What draws you to a production?

    I used to say if the material scared me. When I was asked about “Angels in America, ” I went, “How the hell do you do a seven-hour play? Oh my God, I don’t know how to do that. Let me go on that journey. ” And I discovered, the way you do a seven-hour play is the way you do a two-second play: one scene at a time. So I’m intrigued by things that either scare me, or if it’s just a world I want to live in. And in many respects, that’s something that was ideal working with Nora. It was just: “I want to live in 1985 again. This might be fun. Let me go live there for a while. ” If it sparks some unresolved question in me, or some unresolved curiosity in me, or some unresolved fear in me. That’s why I choose the plays that I do.
    What’s it like working with Tom Hanks?

    Tom’s great. Tom’s very open. Tom is very courageous, and by that I mean, if you give him an idea and he gets it and he can process it, he will jump off a cliff and try it. I love working with actors who will just go, “Oh O. K., let’s try it and see where it goes, ” and “Let’s see what we can discover. ” There’s a kind of fearlessness about how they approach the work, and he has that level of fearlessness.

    It’s unbelievable how many people wait to see Tom exit the theater at the end of the show. Barricades, police and screaming fans. Is it like that every night?

    Yes! And the hysterical thing is that people from other shows come and join the pack.

    Is there a play that you are dying to direct?

    I mean, I think there’s a “Titus Andronicus” in me. I think there’s “A Midsummer Night’s Dream” in me, which I’ve never done. I never directed any Stephen Sondheim. There’s a wonderful restoration tragedy called “Venice Preserv’d” that I wanted to do once upon a time. You cultivate these romantic relationships with plays at various times in your career, and I remember at one point when I was sophomore in college, I started directing stuff, and this one kid said to me, “You need to direct ‘The Tempest’ one day. ” And I went, “O. K. ” And then thousands of years later, I did. So sometimes you’re supposed to go on a journey with a play, and sometimes just the reading of it, or the experiencing of it, or the dreaming of it is just enough.

    Is there a specific play that after you read it, you felt that you had to direct. That reading it just wasn’t enough?

    “Normal Heart, ” I think, for me, and for a number of people, was a chance to go back and release and grieve in the way that you had to stop grieving at a certain point when the AIDS crisis was at its peak because you had lost so many people. So it was a chance to go back and release something. It was also a chance to work with Joe Mantello again and to work with a group of wonderful people. So, I don’t know, I used to think I was very savvy and very smart about my career, and then I realized it’s 80 times more interesting to sort of let the work choose you.

    I stopped making career decisions very early on, because things just started happening and were taking me on a more interesting journey than I imagined.

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