I happened to land in a time, in the middle ’60s, that without knowing it, and without being told by the history of theater — which we now see from a historical point of view was an explosive time. I got out of the Army — in my world — I came to New York, for instance, when the civil rights movement was just beginning, and that created a certain energy, a certain rumble, a certain impetus for black actors. And the game was not to get caught up in it, not to get swept away by it, but to keep on track of what you wanted to do. You weren’t going to the theater to change the world, but you had a chance to affect the world, the thinking and the feelings of the world.