So how did a Broadway production with two major stars fall into place so quickly?
Deadline spoke to Kauffman for the answers.
This interview has been edited and condensed for length and clarity.
Rachel Brosnahan and Oscar Isaac in ‘The Sign In Sidney Brustein’s Window,’ co-produced by LAMF / Protozoa Theater FundJulieta Cervantes
DEADLINE:Was Broadway something that you envisioned from the start with this production?
DEADLINE: Was that the motivation of the producers in moving it to Broadway?
Then he got in touch with other producers who felt the same way.
Anne KauffmanTess Mayer
They thought Broadway was a no-brainer.
How didSidney Brusteinbecome this forgotten work?
Its totally coloring outside the lines.
Its turning structure and what is a tightly made play inside out.
I think she was incredibly ambitious with this play.
She knows them really well.
People often talk about this play as an unfinished play.
We have all of that.
Its full of intruders, you know what I mean?
Its just like a whole different thing thanRaisin in the Sun.
She just turned around and did something completely different.
That must have been very surprising to critics of the 1960s.
KAUFFMAN:I think youre absolutely right, and I dont mean to underplay that.
Those are the things that I feel are timeless.
That was the main reason why I couldnt get it done before.
So now, yes, it might be topical but I think its much bigger than that.
There are characters who fight for Civil Rights but theyre also homophobic.
You have the main character Sidney whos this progressive thinker but also really misogynist.
Hansberry was showing that you’re able to be all of these all at once.
Perhaps people might be more open to that argument now than in the 1960s.
KAUFFMAN:I think youre right, and how complicated is that?
Like what other play from that time presents these complex characters?
I kept thinking the politician was Ed Koch.
KAUFFMAN:Youre not wrong.
Basically, Koch is coming a few years after this play.
I keep saying Hansberry was either prescient or she understood history, you know what I mean?
DEADLINE:And the playwright character, I keep thinking Albee.
KAUFFMAN:Exactly right.
In fact, this play was originally calledUp Yours Edward Albee.
DEADLINE:Lets talk a little bit about the logistics of the production.
How are you getting it transferred so quickly?
Will it be essentially the same production we saw at BAM or are you making changes to it?
KAUFFMAN:We are making changes to it.
In terms of design, the changes will be mostly to do with the new space.
For me what I love are the opportunities for thinking about things differently.
Also were fussing with the text a little bit.
Again, we have at our disposal all of her thoughts and all the variations she wrote.
DEADLINE:How did the schedules of Oscar and Rachel mesh up so quickly to allow a Broadway run?
Was this in their thinking all along?
I think there was a desire on their part and everyone else to do this.
Some people have moved mountains to do this with their schedules.
DEADLINE:Rachels new season ofMrs.
Obviously shes already filmed that, but I imagine she had promotional stuff to do.
KAUFFMAN:Its nuts.
