An Interview with Before I Leave You Playwright Rosanna Yamagiwa Alfaro

by:  Charles Haugland at 09/19/2011

I recently interviewed playwright Rosanna Yamagiwa Alfaro to write a note for the program of her upcoming show, Before I Leave You. Parts of the interview were excerpted, so we are offering the whole, uncut interview here on the blog. Enjoy!

Charles Haugland: What was your first play about?  Why did you write it?
Rosanna Yamagiwa Alfaro: My first play was Behind Enemy Lines about the Japanese American internment camps.  It was an angry political play that followed the Toda family from the horse stalls in the assembly center to the tarpaper barracks in the camps and the segregation center.

CH: Tell me two big turning points in your career?
RA: Before Behind Enemy Lines (which I wrote in my late 30’s) I had published many short stories and a handful of poems.  I was enchanted when stage characters became flesh and blood.  I was utterly fascinated by the interaction of director, actors, and audience. It was a case of love at first sight, and I never wrote another short story.

The other big turning point in my career was this year when at 72 I became a Huntington Playwriting Fellow, received a MCC Artist Fellowship, and was given a slot in the 2011-2012 Huntington Season.  My son Pablo said, “It sounds like the beginning of a brilliant career.”

CH: Does your work share common themes or obsessions? Images or ideas you return to over again?
RA: I am still angry about the Japanese American internment camps, which have reappeared periodically in my plays. Old age is another obsession. I have written a long monologue about an actress whose doctor tells her she has Alzheimer’s and who responds by taking a trip down the Amazon. I’ve also written a full-length play about a woman who is selling her aging mother’s house and, in effect, shutting down her life.These plays were told from the outside in. Before I Leave You is told from the inside out.

My characters are four friends at the cusp of old age. They meet regularly for dinner and drop in unannounced at each other’s houses; they finish each other’s sentences, help parent each other’s children.  When a serious illness strikes one of the group, it’s as if death sits down at the dinner table. Emotionally and professionally, passions in this group still run deep – do they remain steadfast, or is it time to run away?

CH: How do you find each play’s voice? Where do you look for inspiration?
RA: My plays are usually character driven and rarely begin with a story or theme. Once I am halfway through a play everything seems to be related to it: the bumper sticker on a car in front of us, the annoying comment of a friend, the overheard conversation of a mother and child on the bus – all of these have set off a scene.

CH: This is your first play set in your own neighborhood. Why here? Why now?
RA: My plays have been set as far afield as Paris, Amsterdam, Mexico City, Mount Olympus, and an imaginary dictatorship in Central America. With Before I Leave You I finally decided to come home to roost in multicultural Cambridge where I’ve lived most of my life. My characters are recognizable Harvard Square types – accomplished, neurotic, and opinionated, but they also have their unique and deeply felt problems, based as they are on people (including myself) I’ve known for a very long time.

CH: Before I Leave You started out as a short play.  Why did you make it into a full-length play?
RA: Some ten-minute plays, like haikus or sonnets, seem content in their small packages. The characters in Before I Leave You though cried out for more elbow room, and a chance to complete their stories.

CH: What is it like to be a writer in Cambridge and Boston? What’s unique about working here?
RA: Boston has a thriving and supportive playwriting community, full of very serious writers, highly skilled at their craft, not to mention wonderful directors and actors willing to do readings of their work.  It has an unusually large numbers of theaters and universities, not to mention coffee houses and bars, perfect venues for rewriting each other’s plays.

The complaint of local and national playwrights remains the same: although festivals for shorter plays and staged readings abound, there are few opportunities to get a full-length play fully produced. Playwrights can spend years reading and writing, fretting and tearing out their hair before they experience the enormous pleasure of a three-week rehearsal.  I’m convinced a large part of whether one gets on or not is luck. 2011 is the Asian year of the Rabbit and I just happen to be a rabbit.

CH: What keeps you writing?
RA: Writing is a bad habit I hope I’ll never break. Things don’t seem real to me until I think about them and write them down.


  1. It's good to see someone thiinkng it through.
  2. to sink it hard, however, can not always have the grip sinking wandering soul; how many people floating lifeless, loss of conscience in officialdom in the property, the "Man's nature is good," the true meaning strangles, devoid! Nan said: "Reading the history of three thousand years, nothing more than fame and fortune, nine miles enlightenment, is always pastoral poetry and wine." House is nothing more than another big body capacity Seoul five feet, more luxurious car, but also a means of transport. And, lined with tall buildings block who look exactly Castle sight? A dusty haze in the end who had dyed a healthy body? Luxurious life, we "read" to what? Abandoned villages, we "see" what was the reason? The future, can allow you and I give up luxury, away from the hubbub, like a mountain stream, as guardian, silent love, loving flowers waiting for a quiet beauty, ecological plot together better living environment? If you can, please promise me, like a river clean watch lovingly mountains, grass smoothie like that, simple quiet life, tranquil forward; natural seeding in a calm Ning Wen Wanqing, Shizumori cloud water, the equanimity, I let you freely in the blue sky breathing, totem! Spring deep place I do not know, a touch long stream flow. Screenshot touch of sweet flowers, willing gorgeous bloom in nature, so tempting arms brilliant mind, Xu Li Kangan gas in the new body, long far Ju a handful of clear streams warm heart, the inhaled gas exhaled;. A Species thread spring in mind, let love in Life is a never-ending journey through some wonderful, some rough Ke Hum, and my life, flying all the way! While not exciting, memorable enough! People are yearning for a meteoric rise, meteoric rise in life, do you not know the way eloquent, I love you Shannon is also a supreme level. And my life is so! Even if not beautiful and seductive, but the way of atmosphere, the scenery along the way is enough to make you enjoy endless. While not asking for the moon, though not into the sky, while the middle part of twists and turns, bustling, too adorable! This life, it was jealousy, it was envy. Jealous of my life is so cheerful! I envy the pace is so fly Jian! My life, flying all the way! To say is fate! It goes well, but also crooked; it twists and turns, they still flew quickly. Midway There are many memorials, villain obstruction, there are corrupt resistance. Suffering does not exclude these, how you can travel on the sea? How flying all the way? For me the bottom of a people, be quick degrees, can be described as lucky! Although I did not complete the last mission now, because travel is not over yet. I'm still on the road flew, I still wander the landscape. In fact, the twists and turns of life is not a kind of beauty? People say, infinite in the awesome scenery! I think this is a kind of aesthetic realm! Mediocre is not beautiful life. Only bitter, tired, it felt sweet life. I believe, at the end of life, it is when I the beautiful scenery. At that time, when is my glory. I would like to contaminated dust on the road and are willing to enjoy the scenery on the way. At least there are simple ideas, have experience in the struggle. We do not undergo soil, how to know human suffering? Do not experience the experience along the way, it turns out the world's dangerous? Jing spine through the ups and downs, to get genuine talent they need to get the right position they need. Therefore, the twists and turns for me, is a great beauty in life, life is a wonderful story. There is the life story of a perfect life! Flying life is largely a qualitative leap! Leap, is progress. And I was to survive the leap in progress in the front row. Midway mantis, bugs, ants, cinch! Great risk, of course, need to adjust, need to integrate. As you know, the
  3. His website is very interesting and very helpful, thank you...

Post a Comment


About me

Lisa Timmel,  Bevin O'Gara, and Charles Haugland share their thoughts on New Plays, Dramatury, and their experience sharing nightly conversations with the audiences that come to see our shows. Get the inside scoop of new scripts and play development!

Avenue of the Arts / BU Theatre: 264 Huntington Avenue, Boston MA 02115
South End / Calderwood Pavilion at the BCA: 527 Tremont Street, Boston MA 02116
Main: 264 Huntington Avenue, Boston MA 02115 | 617 266 7900 | BOX OFFICE 617 266 0800

© 2016 Huntington Theatre Company. All rights reserved | Trouble viewing this site? Please download Mozilla Firefox or Google Chrome.