♪ >> from our studios in new york city, this is "charlie rose." charlie: he contends that the 1896 presidential race looks at the 2013.

all the candidates, he is said that little separate many of the gop candidates. the right that it's almost unprecedented in its closeness. the nomination could be a paragraph. i am pleased to have all wrote. you have also just on the western race there. you think this could go to the i think it's> going to the convention. the rules of been changed and as a result of 28 state vote between february 1 of march 12 and all that one of them will be proportional in nature area and is not until the eyes of march that the rules allow states to quitener take all area trump win the new hampshire.

is significant. that with him in and on the optimal position? >> no. rubio has four. question fiorini attempt to area there are one or two delegates have to be auctioned out. unless you can consolidate and begin the process of consolidation, starting with 17 and i down the working candidates. we've never had a field is to get this. i want to live out there is a possibility. money dries up.

what's interesting is walker had line in the. take a look. take a look at the candidates we now have. those unclear how much you will pump in. we have two well-funded candidates with super pac. or screws and rubio. in the meet the candidate is able through the lot of spare money. two candidates to appear to have sufficient resources to keep themselves alive these new hampshire and maine. that's christine facing. you might have one who doesn't need much to get there. rand paul for example was running out of cash. we probably have five or six

candidate can last at least of january. clearly have horrified that are going to be there for march. >> i'm watching and waiting area i'm going out of my way not to decide. it's important that the republicans win and in order to win they have every candidate. i want to better understand this. hero, charlie: a we have important lessons that i want to talk about it. a lot of believe in the end of the rubio versus rooms. carl: could be, but i do think trump will be a fact. i'm not sure the government dimension. i think he'sis

been a high florida low ceiling meaning is not pretty verbal numbers, but he is not been able to build out either their area and he does things that are causing resist. cannot the little the rest of your competitors as idiots are or theirnd expect them supporters to feel warm and fuzzy with. not a look at addition traction. it just at unified, says that the people visit donald trump are so angry with what obama is doing with country in their view of how it is impacted them in their vision of what america is becoming. will have the brick and throw it replay glasswalled.

there was a pretty good piece on this. i educatedas well, republican than college at eight republican. c blue-collar working class -- charlie: ideologically and strongly and immigrant. carl: i'm not sure that's ideological. there's a deep concern about immigrants. he's not a consistent conservative. -- he nowican supports from that lost the moral authority is the word republican in name only. he's not a conservative. he still today says he thinks the single-payer health care system in scotland is the way to go. this is the guy who gave money generous to get ted kennedy and

john kerry and hillary clinton. bush has been making his arguments against it. carl: that's my point. when it comes that people use of them they could care less. he is a strong leader who says things that they like or would like to read in a way that upset the politically correct. he says the things they like to say when they are at the family think they. charlie: they like the fact that he has been hostile. karl: and the brag about it. says that don't have any impact on the primary would have an enormous impact on the election -- the general. you think the democrats will not ine known the bankruptcy, ads.

charlie: william mckinley. as a guy who wanted the republican party to just ran. he wanted to be a part of a party that was reaching out and het of the future area karl: wanted to because it was an act of survival. we have the 24 years leading up to the gilded age look like today, only worse. the two political parties are right against each other. we have five presidential elections in nobody 50% of the vote. with two in which we have somebody wins the electoral college that loses the popular vote because black-and-white republican than the now are being wiped out.

where one president who went to elect oral and popular margin is 7000. we divided government for 20 and 24 years. two parties are at each other's throats in ways that make dave by round the fireplace. al gore be -- won the popular vote because early on election night the networks called the election for al gore by saying he had one or that. when you divide america into the eighth the was the voting of the point and compare it 1996 and is a significant improvement in the total number of cap. he would feel the state the west of that line the networks at all the election and the turnout is very rarely. people heard about it. jerry percy was a california

chairman. he was a political novice even never done this or. he said there still living in california. people are hearing the news and getting out of line. the walking out in thing is over with loss. i'm not certain that all things any will the election -- of the networks that not really test prematurely called the election and interfered with the valley, that bush lost the popular vote. we endow them with a full scientific decision. we rely on them to give the general of the where things are going but look how many people into the telephone anymore. we've gone through one big eruption in only. holds, when they started out inducted door-to-door people always had some of the work and not be home oriented the doors. so we went to the telephone and that lasted for over 40 years area and now who answers their

landline to mark i have one in my house and on in so that when people come to the gate they can something that brings on the other area otherwise without answering. -- karl: the base of the republican party is 44% latino. getting 13% of the african-american vote of 6%, we're just getting out face of the republican party. -- you the gender gap raise the level of an. karl: the war was going on. bush got 25% more votes than he had gotten in 2000. 25% more people voted for him in 2004 than in 2000.

we went after every persuadable voter we can yet. listening to the election of 1990's takes, listening to people you thought you wanted to change american to by making republicans majority karl: it was that, in water. you that's about the war #? karl: the fact the matter is knowing what we after 9/11 and the world will today that saddam hussein in power in iraq. at the dentist knows it about 14 years resolution. it intended to nonentity.

, isaid to his interrogators have wmd. chemical and biological. not have nuclear. but he said i'm doing lots of money from the program to keep recounts tolly chemical and biological. he admitted he was funding a response to. me.lie: tell area myckinley said that is you have if in fact the -- it's a there

were no mass destruction, we should not have invaded iraq. karl: the only thing the cause -- remember even kennedy thought the intelligence was correct. you looked at the intelligence and included via wmd's. but the intelligence was flawed. the president but not enough to aided. you would not have advocated invading iraq. that's my sense. we would not as often could not gotten personal -- charlie: this is an interesting book. mckinley is an interesting guy.

the republican party in the guy got off. the notion of the becoming of already the feeling to the offending majority. the changing demographics of america. growing diversity of the country in 1896. keenly aware of it. charlie: is not that happening in 2006 dean? karl: my point is not to compare the two my point is there left be derived. do lesson is that you really need to have -- mckinley one in part because he looked around and that i and when witnessing devoted worse before. i have to win new voters. to reject catholic. the republican party was the anglo-saxon party in the north. --was the first to say

received the endorsement of of the catholic hierarchy. he did so by taking on the apa. charlie: at that time was the republican party the -- the party of lincoln? karl: it was. andr politics is a veteran 18 625. the throughout his entire career he is the first incident of either party to openly appear black audience is seeking the nomination of his already. it was the party of lincoln in the now he is nominated i carrying the health where the

voters of the republican party are that a black. he's identified throughout his entire career. like did not change until 1932. charlie: roosevelt and then kennedy. karl: martin luther king's father voted for nixon in 19 80 and ultimately some or the dwight eisenhower area charlie: if you look at the debate within the republican party in this look at that, does it look like this is a party dedicated reaching out to diversity can you trust? >> i don't think so. think donald trump is eliminating your chance of creating area karl: not eliminating, hindering.

i think we need a new month that in the republican party that takenothing like being twice in the head by neil. 2008 and 2012. 2012.ularly it costs a lot of people to say we need to do better. were doing great among white. but we have to do better. with the governor in texas who got 80% of the vote. by gaining 20%ed of the african-american vote. you look at the coming election, what should the ticket florida, the democrats

won by seven cents the present. at the went on republicans have a shot. in-state virginia and ohio. it's more than that. we lose it we're dead. we have one shot. it with themake win. overnia we lost by just point in ohio we lost by less than three. against the not particularly strong candidate. the state is turning back the

other way. ohio we have a republican governor. nevada, colorado is dramatically in the republic karl: let's be clear about this book. not about election it has sex violence and action. the trail, courage and vision. everybody had a cool name. charlie: what happened to mckinley? karl: he was assassinated by a terrorist.

they've been trying to make an attack on all succeeded in a number of cases. will -- it wass the least that he was doing his duty. mckinley was popular. i hundred thousand people lined railroad tracks as body fat. silly people crowded the transition to the governor. this is through his respects to mrs. emily. is carried into the ball in ohio, was children of nashville tennessee arranged suite needs to be start on the ground and on and the work veterans

pick them up on their health. the entire is there. most of them openly weeping. funeral was so overcome with emotion that he has in. he himself was down in his eyes. the country was horrified by this. mckinley is a popular that in order to treat roosevelt promises he will do his cabinet calls these intact. there's a policy today in ohio that was well as children. ♪

charlie: david harris here. he's been nominated to academy of work for screenplays the hours and the reader. happens include stuff skylight. is now turned his writers days to his own life. his new memoir is called the

blue touch paper. i'm pleased to have you. welcome. as a man decided to recommend >> i'd never been interested in writing about the health. i have written about all sorts of subjects. to hand subject matter. most pleasure from doing. i was asked what about my education a few years ago area is called south downs. when i started telling the teenager is what been like in the 1950's and 60's they treated it like it was crews. like it was 200 years ago that was on the only religious memoir about the 50's and steve mysterious thing is i have the field myself. we are meant to be part of the

narcissistic generation area meaning there are very few customers literary memoirs of the last few years are people who are in their late user 80. you people have written about the 50's and 60's. and that's implants myself. to read this and see the things you talk about see how hard you are so, suggest you must let nothing out. i left a lot out. but i did want everything was in the book be true. that was my guide. charlie: there were some things that were true that you didn't leave out for whatever reason. >> a good read was really important area i wanted my story to be like a novel. about my growing up in the grove

is a writer. finally ready to play in my private life a lot. also margaret thatcher's elect that in britain changes. the three things happen in 1978 and nine. i wanted that seems in the story area do me most read the book and say it's not like reading a memoir reading a novel and that's exactly what i wanted. the interesting thing to know is when you look at this, it also led dust reflects the fact that the david here i judgment andon and desperately wants to share them. that's the definition of a good writer again. >> i always assumed i wrote out of anger.

" lebron. a writer be made angry in order to the. and that probably is true love and i think is true myself. but i think a writer has to be bewildered in order to write. this is how it seems to me and i miss it by the policy of the way. the media plays a proposition. audience, hang on this is no idea does anyone recognize this? when i write a successful ai noted in the eyes of the audience that they go yeah the skies expressing exactly what i see it incharlie: their eyes because they -- you are telling their story better than the head. >> people say i never thought i would hear that said. went think goodness i'm not mad. i feel this.

an unsuccessful way you are just you look at the audience and you know you are not getting a common. charlie: how did you do it? did you simply write as you have written everything else? david: no. i had never written about myself. it was a strange subject to me. i'd never been in therapy or anything like that. but the publishers were kind enough to give me a generalist friend who did 17 sessions with me in which i talked about my life. i took the transcript of it and i wrote the book. not a word of it -- charlie: she simply had you tell me. david: if they can find a publisher to pay for their

therapy it is therapeutic. i really feel that one of the things i have done -- i have made myself a lot happier for writing this book. you are haunted by the past, troubled by the past. it becomes more real to you. the things you have not understood come to obsess you. one of the things is you have to sort the things out. people talk to about your friends, about how you seem to them at the time. i understood things about myself through writing it. i'm delighted if the public reads the book. mental self-help has been done to me by writing it. charlie: i've seen you do a monologue. is this the monologue? david: i don't think so. it is much less of a public performance. this i hope is a piece of literature. charlie: literature. david: we in the performing arts

are not generally taken seriously as writers. there is a thought that in british knob colter at least the novel is the serious form and the people who work -- charlie: you are saying this is your novel. david: it is not fiction. it is completely true. charlie: help us walk through that. you get added so we understand that these are imagined characters, these are things that are made to get to the truth. this is not stuff made up. david: i have sculpted a story out of it and it is a mixture of an artistic story about how i became a playwright, a story about how my family life was so catastrophically affected, and how there was this change in social history, the feeling of government was that they were

contributing to the common good and that would be done through the public services, through the nhs, national health service, social security, public service. 1979 that consensus ends premarket thatcher arrives. since then we have heading off in the opposite direction to this day. the life of someone in my age divides in the middle. there is a hinge where everything changes. charlie: to your chagrin. david: if you have love my life, and i described a repressed and unhappy childhood in a suburban town in the mid-century in england, i cannot see any social advances in terms of people's sexuality and the right to behave as they wish as anything but advances.

advances in medicine, and cultural areas. everything has come around. immensely and recognizably better in people's lives during my lifetime. has things gotten politically better, i don't think so. i think it is retrograde. charlie: you were also frank about your affair. does everybody know? david: everyone who is involved has read the book. charlie: before hand? explain that to me. you felt the moral thing to do if someone is in it to let them know before the book was published. david: you have to do that. i would have thought that is basic. also because i was concerned that the book be true. my sister said i don't know if it is true. it is the story i have told myself about those years but it

is so long ago and our parents are dead, how will we know if this is true? charlie: talking about your father. david: and also my private life and how my first marriage ended because i was having a relationship with someone else. charlie: there was no consideration of courtesy that i don't want to hurt this person again and telling my story may lead to pain. that is courtesy not that checking. david: i go out of my way -- my publisher said to me this is the only the ethical memoir i've ever read that doesn't settle any scores. i don't want to write to settle scores. i'm not writing to set the record straight. i don't want to hurt anybody in who was involved in my life. what i'm talking about is that

it was tough for me to become a playwright, the controversies my plays caused, the fights that i had with critics, with the audience, sometimes with theaters was so punishing that they made me into quite a difficult person. you say i am hard on myself. i had to be to get my work seen at the level of accomplishment that i wanted to get to. a lot of people got hurt and that is what i write about. charlie: getting seen on stage. david: in the 1970's, people say is in a marvelous this young person is writing a play and they were encouraging things. in those days a wanted to kill us at birth. critics were trying to strangle us and throw us off the stage. these young men and women are dragging politics in the theater

and we don't want politics in the theater. they were vicious. we had to fight to become the writers we wanted to become. charlie: you and panter and others. david: yes. i started noticing how difficult they were. it could be a very rough evening. an evening of tennessee williams would be an evening of remorse, shame, anger. that business of exposing yourself to 600 people and night is done at a certain expense. charlie: but that is your definition of what theater ought to be. david: to me it is no good if it is not in good faith. it is no good unless you are saying things that you believe and you want people to hear. the most exciting nights i've had have involved that.

charlie: does your theater have to have some commentary? it can be about relationships. it can be about relationships and the politics of the day. and how relationships are affected by politics. how politics are affected by relationships. david: a lot of the antagonism is the same as the antagonism you get as a novelist. people say of jonathan, he wants the novel to be this. jonathan friends at no point says he wants all novels to be like this. he says within the novel i would like it be possible to do this kind of book as well as others. i never said i wanted the whole theater to be like that. i just want my kind of theater to be allowed among others. charlie: you loved hamilton. because? everybody does too but i'm interested in your take based on this conversation. david: i am jealous.

i am jealous of the americans for having a founding myth which regenerates itself. we have no such myth. winston churchill? how would we write something that was about how a country was founded, permanently inspiring myth which new generations and people from different backgrounds can come along and reanimate and that myth will be powerful. charlie: because the people who created the founding fathers were flawed or it is a myth because they were not what they said they were? david: because they were complicated and came from all kinds of backgrounds and yet somehow created an idealism in society that is still running. charlie: is hamilton at that idea? david: absolutely. the highest compliment i can play hamilton is that it is as good as a play. i actually would say if you want an advertising slogan, here is one from me they can use. a musical for people who loathe musicals.

[laughter] charlie: i will tell them. the blue touch paper memoir by david hare. great to see you. back in a moment. stay with us. ♪

charlie: an american in paris opened in 1931. it 16 oscars including best picture. it left big dancing shoes to fill. filling those shoes is robert fairchild and leanne coke. an american in paris is an old fashioned spare no expense broadway romance. here is a look at the most awarded new musical of 2015. ♪ ♪

charlie: let's go tonight. [applause] [laughter] charlie: i am pleased to have them at the table for the first time. this is a musical. is it a musical, a ballet? a hybrid. >> yeah. charlie: jazz. >> jazz, ballet. >> it follows the formula of a traditional musical but it has

three ballets throughout. they were used decades ago but never has there been an opening and culminates into this. it has tremendous dancing. charlie: whose idea was it to bring it to broadway? >> a combination. it was an iconic film. there was nerves. you gave us great starting place i think. we actually went to paris for two months last year. we were doing our out-of-town tryouts. it was great research.

charlie: you didn't see the film. >> i have not. still haven't. >> i have. >> i fell in love with it. it was everything i wanted in a musical. great songs, great story, great characters and a ballet. it was everything i wanted to see. charlie: is it a challenge to make sure you are not mimicking anything you have seen? >> there is no harm in borrowing. everyone has studied the old films. i think each of us have drawn from different if not from the films but maybe things that are from the same time. >> if it is an existing piece like this i like to watch it after i have done it. it is interesting to see if there are similarities. i love to steal things as well.

if something is working you can borrow it. why wouldn't you? i do both. charlie: what was the biggest challenge? >> you had people from the ballet world opening their mouths for the first time on stage. singing and speaking. charlie: and people from the singing world dancing. >> everybody had to learn something. >> we were each pushed out of our conference own which helped us rely on each other. >> everyone was scared and that makes it easier. i had to step in to tap shoes. everyone who was there -- it was his first time directing. everyone in the room -- it takes some pressure off. we were scared together. charlie: there is a kind of chemistry between you and

leeann. >> i think. [laughter] >> we ran a lucky situation that we came from similar backgrounds and we were thrown into this situation together. time from the ballet world, i always felt more comfort knowing that we were in the same situation. but i think there is a lot of chemistry in the whole cast. everyone gets on well on and off the stage. that is what makes our show special. we do really like each other. charlie: this is the american in paris ballet from the film made in 1951. >> we were lucky, we stood very close to that fountain they were dancing in. charlie: take a look. ♪

charlie: what, what? >> i am amazed seeing them dance. had you step into the shoes? they have. they have made the roles their own. but my breath is taken away every time i see them dance on stage, in her her soul. it is incredible. charlie: where do those steps come from? >> christopher's brain. people always say you are doing gene kelly steps. it is actually no, we are doing new choreography inspired by the film but there are moments where you get to do a little nod here and there.

just to bring everybody who has seen the film those little moments to go wow. charlie: will this change are performing lives? or is this one of a lifetime opportunity? could you go on now and pick up more roles? >> i would love the opportunity. where i have been in my life, how is want to find opportunities that challenge me and pushed me. whether it is opening my mouth for the first time on stage or what. i love the forward motion, the progression. i love pushing myself. charlie: other than having speaking roles how does this compare with ballet? >> that are some things you cannot say. you cannot sing.

it is just movement to communicate words that you cannot express. and there is something so different when you are speaking the words on stage. it is so -- it has to come from an authentic place. i have loved what happens now in my dancing because of the dissecting of storytelling i have had to do through speaking. now when i move my body i feel like i am speaking more clearly. if that makes any sense. charlie: sure it does. is it easier when you think someone who sings to learn to dance or someone who dances to learn to sing? >> that is tough. i consider myself a singer who moves ok. [laughter] >> i think she is more than ok. >> i forget that he is a new york city ballet dancer.

people would love to be dancing with him and i adored him through this. i forget that you are not from this world. charlie: you are an alien. >> sometimes ballet dancers feel like aliens. the ballet world is very insular. you go to work at 10:30 in the morning. you don't finish before 10:30 at night. it can feel insular and ballet is at times not relatable because it is so closed off. it is a great opportunity for the world of ballet to be exposed to broadway which is so much more mainstream than anything i have been a part of. charlie: more mainstream. what about you? >> in regards to -- well, i do think it helps. some people are born with a voice. he was born with a voice. it has gotten very strong. [laughter]

some people no matter what, you cannot teach them musicality or rhythm. i think i have that. i was able to pick up some of the dance steps. there is no way i will ever do what they do. there is no way that they will do what people at the metropolitan opera is doing. but there is enough for musical theater on broadway. you hope people are going to sing well and dance well but they are beyond what you expect. charlie: we talk about christopher wheeldon a lot. here is him backstage with the cast. ♪ >> be brave. step outside of your comfort zone.

this experience has taught me that. >> i cannot stand christopher wilden. [laughter] he is so talented and so young, he just wants to try it like this, he jumps out of his chair and does the move and kicks his leg, and does it in a wave with this incredible technique and musicality.

how dare you. he is not some old guy yelling the dance moves. he can still do it. it is wild to see that. most directors cannot do that. [laughter] charlie: what does that mean? >> he will show you a little leg. a little oh darling. >> he understands everything he is doing. he has the youth and strength and agility to do what we are doing. charlie: congratulations. >> thank you. charlie: for the awards you have one, for the attention you are getting and the pleasure of being there. an american in paris is at the palace. thank you for joining us. see you next time. ♪

announcer: "brilliant ideas," powered by hyundai motors. ♪ narrator: the contemporary art world is vibrant and booming as never before. it is a 21st century phenomenon, a global industry in its own right. "brilliant ideas" looks at the artists at the heart of this. they have a unique power to inspire, astonish, provoke, and shock. in this episode, we meet chinese artist xu bing. ♪