“I said, ‘Mark, here’s the damn thing, it’s the one part I can’t cut because I don’t think it came from me,'” Vogel remembered. Which is a very weird experience!”ĭuring rehearsals for the first production of the play back in 1997, she and the show’s director, Mark Brokaw (also the director of the current production), talked about cutting the scene entirely. And I literally said out loud in the middle of the night, ‘What the hell are you doing? That’s not in the outline!’ And then another voice went, ‘Vogel, shut up and follow him.’ So the fishing scene literally felt like I was taking dictation. When she was first writing the script, she recalled, “At the end of the scene that was in my outline, suddenly get out of the car, suddenly take off his jacket, suddenly start rolling up his sleeves, slipping out of his shoes. But as Vogel admits, in a play that is told almost entirely from Li’l Bit’s perspective, this one sequence, in which Li’l Bit plays no part, isn’t a logical fit.īut as Vogel described on “Stagecraft,” she remains very attached to the scene for a striking reason.
The delicately acted moment resonates with discomfiting echoes of the play’s main storyline, which follows the sexual relationship between Peck and his much younger niece Li’l Bit (played by Mary-Louise Parker). She was describing a scene in which Uncle Peck, the character played by Morse, takes young Cousin Bobby fishing. “It’s a complete interruption of the narrative.” “It makes no sense in the structure of the play,” Vogel said on “Stagecraft,” Variety’s theater podcast, on which she appeared alongside the production’s Tony-nominated star David Morse. Listen to this week’s “Stagecraft” podcast below: But there’s still one part of the play that remains a mystery even to her. Playwright Paula Vogel won a Pulitzer Prize for her 25-year-old play “ How I Learned to Drive,” which has been seen in productions around the world and is now on Broadway in a staging nominated for three Tony Awards.
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