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A Background On Realistic Solutions

“I have a partner; we’ve been together for 23 years. We’ve started or launched six companies and we have six children and we have two nonprofits and we have nannies and all those other things, but we did from the very beginning say, ‘This is what we’ve chosen,’ and we’re partners on every level.” Smith said leaders need to recognize things have changed. “Don’t have set rules,” she said. “What was good 10 years ago is not good now. “Everybody is different. Every business is different. And business just continues to change. Marriages change, businesses change, individuals change. “The idea is about having enough agility to say, ‘This role that we’re in has to change,’” she said. “Or, ‘I think I see a change coming’ — and be in front of it a little bit, so it’s a natural progression. Rather than just saying, ‘You’re the guy and I’m the gal, and this is the way it’s supposed to go.’” “I have to spend time with the children — and it’s not have to, it’s want to,” she said.

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Thinking About Reasonable Solutions

Akhtar said he is curious to see how Austrian audiences square their affection for Mr. Simonischek with the role — “praying in Arabic and talking about Allah and loving his performance.” Not too long ago, this sort of casting would have given the playwright pause. He had qualms last year when he found out — shortly before curtain — that the 2017 Hamburg premiere of the same work had also been cast entirely with white actors, although Germany has a larger and more diverse population than Austria. “Then I saw the play and it was staggeringly beautiful,” he recalled, sipping black tea at Nil, an Egyptian cafe in this city’s trendy seventh district, soon after the opening. “I saw a German audience see their families in this Pakistani family. And then I saw that play get started to be produced around Germany.” Subsequent runs have cast Muslim and Middle Eastern actors, as in the current production at Berlin’s Vaganten Bühne. “So, oddly, a premiere production cast with white actors created more opportunities in the long run for actors of my ethnicity,” Mr. Akhtar explained, “which is one of the goals I’ve had with writing plays like that.” Even beyond issues of ethnicity, American playwrights working in Europe have to acclimate themselves to the visions of directors, who often adjust plays’ settings and sometime even alter the texts. For “The Who & the What” in Hamburg, the director Katrin Beier cut an entire scene and added a monologue written by Jacques Derrida. “In a sense, she didn’t do my play,” Mr.

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