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The central line of something can be quite obscure or quite not what you'd expect.

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It was bizarre, to say the least, because I'm from Mississippi, and my experience with that life was entirely through television. So when I got there, I felt like, "Finally, I'm home." School was what I did between what I wanted to do, which was discover this crazy city that I had dreamed of living in since I was a kid. I'm saying this because I want people to know the truth. I would lose roles because the faculty didn't think that I was committed. A lot of stuff in the curriculum felt very abstract to me. But in the three years that I was there, I didn't see how the work that I was doing there was relevant until my third year. If they felt like you weren't performing—in terms of coming to class on time and doing the work—you could get cast in a role by an outside director and the faculty would take it away from you. I honestly felt like, "What does this have to do with me getting somebody to believe me? Now, trust me, I'm not saying that I still feel that way.

It wasn't something that I took seriously, because I didn't appreciate it. One thing that was incredibly important at NYU, at least when I was there, was that you had to be to class on time. It just didn't feel like I was getting the skills that I needed to be an actor, or what I thought I needed to be an actor.

And he said to us that the central line in that piece was a stage direction that says that the wheels of the trolley squeak as it's pushed into the room.

You think, if you were in that situation and waiting for that moment to identify your son's body, you would remember that squeak the rest of your days,.

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At Brown, taking those classes for the very first time, that was the first time that it was serious. It was a part of my academic experience as opposed to something I did after classes were over.

When I was at Brown, they took it very, very seriously. Marshall, who is very passionate about what she does—I really sat there and was like, "These people take this thing kind of seriously here." I had to rise to the occasion.

And he said what he would do, if he had his way, was spend months just working on the play without having been assigned a part—workshop it and do the exercises to discover what it's about.

And he said every play has a central line that encapsulates the meaning, the DNA of what it's about.

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