PLAYING THROUGH

Many years ago, while I was an actor in a play at the Mark Taper Forum, I had little direct contact with Gordon Davidson (“The Playmaker,” by Hilary de Vries, Nov. 21). I did, however, get an opening-night hug and many an encouraging word. A couple of years later, at another theater, I got a show-opening telegram from him.

Davidson has been the foundation of most of the best theater to come out of Los Angeles for three decades. This talented, intelligent and supportive man is worthy of all the success he has had in the past and will have in the future.

BARRY CUTLER

Sherman Oaks

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The impression given that Davidson didn’t commit to a main-stage production of (my) “Angels in America” at the Taper until Frank Rich reviewed the play at (London’s National Theatre) is completely incorrect. A Taper main-stage production was being planned for more than a year before the opening at the National.

Davidson’s longstanding involvement in “Angels” began in 1989, when Oskar Eustis brought the play to the Taper. Davidson gave the play, and me, unstinting support, from the first staged reading through two fully produced workshops and the main-stage production in November, 1992.

Also, Davidson did not replace Eustis as the director of “Angels” at my behest following Rich’s (New York Times) review of the Taper production. As Eustis and I have both stated publicly, he and I made a decision to part professional company, as far as “Angels” was concerned, a month before the Taper opening, owing to aesthetic differences.

If there is any glory attached to having been part of the effort to complete “Angels,” it would be unjust to deprive Davidson of his considerable share. He is one of the great theater artists and producers of the postwar era, one whose place in the history of the American theater is assured.

TONY KUSHNER

New York City

Editor’s note: “Angels in America” was written by Kushner.

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De Vries describes how Davidson, the head of L.A.’s powerful Center Theatre Group, is helping to reinvigorate a tired Broadway with great American drama. How interesting! Most of the playwrights taking part in this endeavor by Davidson are not Californians, and their plays, distinguished though they may be, do not reflect the California experience in any way. Furthermore, who cares about Broadway? The old lady is dead--or has been dying for many years. Why should a California regional theater give her a boost?

I have a dream, one in which California playwrights walk shoulder to shoulder, as equals, with their Broadway brothers and sisters. It’s a dream in which the most important and most interesting plays by California playwrights are presented at the Mark Taper Forum and directed by California directors.

I have a dream . . . .

ADOLPH DONINS

Oxnard