First off, established scripts aren’t given a quality-pass because they’ve attained publication and past production. They vary in how they’ve aged (As Is was brilliant commentary in the 80s; producing it now would likely seem quaint, if not laughable); personal taste (I hate Romeo & Juliet and Wait Until Dark, and they will still suck for me, no matter how many times people tell me they’re classics); and lots of other little factors.

Brilliant writers have crap in their canons (lotta Lady of Dubuque going on, even among Albee devotees?)

The questions you talk about should still arise in the process while you’re working on established work, and how to address those areas of (perceived) weakness. No play is perfect. In art, we deal in degrees and analysis of imperfection.

The most important thing is that the director and spiritual leader of the journey, connect with the material and believe in its truth.

Of course, gotta give it to you, to do new work you sure gotta dig through/read a lot more shit. And no one should be made to to that unless that’s they’re calling or they’re convicted of terrorism.

And that’s my 2 cents.

Hah! I wouldn’t say that, heh-heh.

It’s all about me, babe!