Meaning: The quote "I think I started out trying to be very objective about the flow of the play" by James Rado, an American actor, writer, and composer, provides insight into the creative process and mindset of a theater practitioner. Rado is best known for co-writing the rock musical "Hair," which became a symbol of the counterculture movement in the 1960s. In this quote, Rado reflects on his approach to creating and shaping a theatrical production, specifically focusing on the objective evaluation of the play's progression.

When Rado mentions being "very objective about the flow of the play," he is likely referring to his initial intentions when conceptualizing and developing the narrative structure, character arcs, and overall pacing of a theatrical piece. Objectivity in this context suggests a deliberate effort to distance oneself from personal biases or preconceived notions in order to assess the play's development from a neutral standpoint. This approach is crucial for a playwright or director, as it allows them to critically analyze the effectiveness of the storytelling and the coherence of the dramatic elements without being swayed by subjective attachments to specific scenes or characters.

Rado's emphasis on objectivity in the context of the play's flow also implies a commitment to ensuring a seamless and coherent progression of events, emotions, and themes throughout the theatrical experience. This could involve meticulous attention to the sequence of scenes, the transitions between different narrative beats, and the overall rhythm of the storytelling. By prioritizing objectivity in assessing the flow of the play, Rado prioritizes the audience's engagement and comprehension, as a well-structured and fluid narrative can enhance the impact and resonance of the theatrical work.

Moreover, Rado's statement offers valuable insights into the iterative and evolving nature of playwriting and theatrical production. The use of the phrase "started out" suggests that Rado's initial approach to objectivity may have been a starting point rather than a rigid principle. This implies that as the creative process unfolds, Rado may have adapted his perspective, incorporating subjective elements, artistic intuition, and collaborative input to refine and enrich the flow of the play. This dynamic creative journey underscores the fluid and adaptive nature of theatrical creation, where initial objectives may give way to organic insights and creative impulses.

In a broader context, Rado's quote resonates with the artistic challenges and aspirations shared by playwrights, directors, and theater practitioners across different cultural and historical milieus. The pursuit of objectivity in assessing the flow of a play aligns with the enduring quest for artistic excellence and the desire to craft compelling, impactful narratives that resonate with audiences. By acknowledging the importance of objectivity while also recognizing the potential for creative evolution, Rado's quote encapsulates the complexities and nuances of the theatrical creative process.

In conclusion, James Rado's quote "I think I started out trying to be very objective about the flow of the play" offers a window into the mindset and approach of a seasoned theater practitioner. Through his reflection on the significance of objectivity in shaping the flow of a play, Rado underscores the importance of critical evaluation, narrative coherence, and audience engagement in theatrical storytelling. Furthermore, his acknowledgment of the evolving nature of the creative process enriches our understanding of the dynamic interplay between objectivity and artistic intuition in the pursuit of theatrical excellence.