I'm the end of the line; absurd and appalling as it may seem, serious New York theater has died in my lifetime.
Since I got a really bad review when I was, like, 28 in 'The New York Times,' I don't read reviews anymore.
Once we decided to do a tower in New York, it had to say something about our group, reflecting the mix of modernity and creativity in our organization. It's a symbol.
New York is my Lourdes, where I go for spiritual refreshment... a place where you're least likely to be bitten by a wild goat.
Conspiracies do exist. Probably in this moment in New York there is an economic group making a conspiracy in order to buy three banks. But if they succeed, they are immediately discovered.
Pittsburgh was even more vital, more creative, more hungry for culture than New York. Pittsburgh was the birthplace of my writing.
New York is a field of tireless and antagonistic interests undoubtedly fascinating but horribly unreal. Everybody is looking at everybody else a foolish crowd walking on mirrors.
Gradually the live TV scene simmered out, replaced by film, and that took place in L.A. So many actors left New York.
On 11 September, I was living in Greenwich Village, New York; my children learned to tell south from north by looking at the World Trade Center.
In New York, we tip everyone. We tip doormen, we tip cab drivers, and we tip bartenders at the bar. You'll get quite an evil eye if you don't leave a tip at the bar.
In New York you can just walk out and be among people. You're on the subway among people, you go to cafes, you can talk to people.
By 1949, there was no more work for me out there, and I went to New York in 1950 and just did whatever I could. Mainly television. Some Broadway. A lot of dinner theater work, which is not a very satisfactory medium.
From what I've heard, Paris did a little bit more prep work as far as making bike lanes and all of that stuff. They really did it properly, which New York is getting to little by little.
It's tourists in New York. Everything is geared towards that. It's so hard on Broadway now for them to get people in there. They have to compete with so many other entertainments, so they have to bring a star in which puts people there out of work.
My father read 'The New York Times,' my mother did secretarial work, we had a dog, we had a garden, I had a brother.
It's a luxury being able to work every day in the streets of Manhattan. It doesn't get much cooler than that. When you move to New York, that's exactly what you dream of. And I'm doing it.
So I majored in Drama, did all the plays that were possible to do, skated through school in order to be in every production on stage or backstage in whatever capacity and I came to New York looking for work in the summers.
Raymond Chandler managed to write about L.A. his whole career. Should I keep going writing about New York? Is that what I should be doing? Songwriting doesn't work that way.
A New York casting director, who shall remain nameless, once said to me, 'Marcia, you have what I call the flaring-nostril look, and until you get something done about it, you will never, ever work.'
Instead of putting Americans to work, the Teamsters have been busy yanking members off projects and idling construction projects from California to Indiana to New York in order to shake down employers.
My goal had been to win a championship, work toward the Hall of Fame, have my jersey retired by the team and I'd go in as a lifelong New York Giant, but I'm now resigned to the fact that this won't happen.
