At the end of the year, Farrar, Strauss and Giroux will publish Adam Rapp's new novel, which he's been “working on for 13-14 years. Every other thing that I've written, I've written while I've been writing this novel. It's sort of a time capsule for me,” he says.
While the new book is termed Rapp's first adult novel, he doesn't totally agree. “The 'young-adult' genre [designating his earlier works] is sort of a marketing device. While my protagonists have generally been teenagers, I don't consider any of the books to be specifically for children. They've tried to publish a couple as crossovers into the adult market, but not so successfully. This will be the first one taken seriously as an adult piece of fiction. I'm excited about that; it'll be like new waters to test.”
However, “The Year of Endless Sorrow” hardly applies to 2006. Aside from the aforementioned play and film, Rapp's involved in the editing of his second movie, “Blackbird” (adapted from one of his plays), working on another book, “Decelerate Blue” (“which will probably be out this time next year”), awaiting the March release of the first CD of his band, Less (“I love the band; it gives me a way to blow off steam”), and preparing for their August appearance at the Edinburgh Festival, where he'll also direct a production of another of his plays, Finer Noble Gases.
Set in Amsterdam's red-light district and later, an East Village apartment, Red Light Winter was inspired by a 1997 trip that Rapp took with a friend, “who was very, very depressed. I was trying to get him back in the world some way. We're still great friends. He's married now and happy, and lives in Brooklyn. But the characters, Davis [played by Gary Wilmes] and Matt [Christopher Denham], are definitely not my friend or me,” insists Rapp. “I wish I was as interesting as either of them. Nor is the woman [Christina, portrayed by Lisa Joyce] the one with whom we both slept. I took circumstances and embellished them.”
He wrote the first act in two weeks, while at the Eugene O'Neill Theater Center in Waterford, CT, during the summer of 2003. “A few weeks later, I was asked to read it [at a seminar]. I got a lot of nice feedback, and completed the second act while I was there.” How similar was the reading to what has since played at Steppenwolf and is now at the Barrow Street Theatre? “Very close, to be honest with you. I made a lot of cuts [in Chicago] and more here, but there wasn't much restructuring. I think I'm getting smarter with my first drafts.” The O'Neill, he notes, “has been an incredible touchstone for me. I like to go there every summer; it's a magical place for me. I always write a play when I'm there.
“A lot of my work is developed with [specific] actors in mind -- people like Paul Sparks, Dallas Roberts, and the actors in Red Light Winter: Gary Wilmes, Chris Denham, Lisa Joyce. I've worked with these people over and over. It's a really collaborative process. I love it!”
As he did with Red Light Winter (and a few other plays), Rapp intends directing his plays in the future. “I've wanted to direct my own work for about ten years, but it's been heavily frowned upon by a lot of artistic directors. Now it's happening, and I'm really, really happy. Outside of Richard Nelson, few [playwrights] do it; occasionally [David] Mamet does. It's just not an American thing.
“Directing forces me to become a serious dramaturge. For the health of my plays, it's probably better that I direct. I probably will insist on directing things [from now on]. But there are two directors with whom I love to work: Carolyn Cantor [artistic director and co-founder of the Edge] and Mike Bradwell, who runs the Bush Theatre in London -- and I'd work with them again as a playwright.”
Rapp can easily trace both his childhood disdain for - and his adult devotion to -- the theatre to his younger brother's acting career. Anthony Rapp made his Broadway debut at 9, portraying the former of the title roles in the 1981 musical The Little Prince and the Aviator (which played 16 preview performances before closing). “As a kid growing up, I played basketball,” Adam explains. “Every time Anthony got a job, I was uprooted from the team I was on, and from junior high. The first play that really affected me was John Guare's Landscape of the Body. It was a production at the Goodman in Chicago [with Anthony in the cast], and it shook me up. It was really Guare's work that brought me to the theatre. I admire him; I'm a big, big fan of his.”
When Adam later moved to New York, Anthony was appearing in Six Degrees of Separation, and the older Rapp was drawn into the offstage camaraderie of the cast. “We used to meet after the show and hang out with the actors. I hated theatre and I love theatre -- both because of Anthony. Now, [the theatre] has become my home. I can't imagine being anywhere else. The film stuff is great, too, and I always loved fiction, but there's something about being in a live theatre that just feels . . . [Pauses] It's my cathedral!”
The second of the three children (the eldest is sister Anne) of Mary Lee (Baird) and Douglas Rapp, Adam was born in Chicago and raised in Joliet, IL. His parents were divorced when he was five, and his single mother (who died of cancer in 1997) struggled to raise her children.
While young Anthony eventually became the family breadwinner, Adam fell in with the wrong crowd, got caught shoplifting, and was sent to reform school. His novel, “The Buffalo Tree,” is based on the time that he spent at the Glenwood School for Boys. Following that, he attended St. John's Military Academy, later telling a reporter, “Almost every male relationship I've written of is influenced by my experience at the Academy.”
It was at Dubuque's Clark College that Rapp developed an interest in writing. After graduation, he spent a two-year fellowship at Juilliard, where he met Marsha Norman, “a great mentor, a great influence, a great friend.” At 24, he had his first book published, and among his novels are “Missing the Piano,” “The Copper Elephant,” “Little Chicago,” “33 Snowfish” and “Under the Wolf, Under the Dog.”
Nocturne was his first successful play. Others include Animals and Plants, Trueblinka, Ghosts in the Cottonwoods, Faster, Dreams of the Salthorse and Stone Cold Dead Serious. “I can't start [a play] unless I have a title,” claims Rapp. “It's sort of like a door to walk through and makes me commit to writing it. It makes me name a file on my computer; it gets me excited.” The title Animals and Plants derived from a list on a board in Juilliard, “The Divine Order of Things”: Number 1 was God . . . 4, Animals; 5, Plants. Stone Cold Dead Serious was named due to an announcer's sales pitch: “I'm stone cold dead serious.”
Self-effacing, the 6'3” Rapp has downplayed comparisons to the young Sam Shepard -- “Maybe [it's] because we're both tall white guys, but I'm honored to be [mentioned] in the same paragraph.” Rapp tells me, “I'm a misfit, and I think a lot of people in the theatre are misfits, and I certainly appreciate being accepted as a misfit in the theatre.”
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