George C. Wolfe Quotes
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On different projects, different pieces of you will show up. Sometimes it's surprising which piece shows up.
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I love and I'm intrigued by what history does to people and to subjects that matter.
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I feel like I've been very blessed in the sense that I've had the veracity of spirit to not be stopped and, at the same time, the protective energy and the generosity of those who have come before me, who saw something inside of me and, therefore, invited me into rooms that I would not have been inside of otherwise.
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One thing I tend to do is ask actors tons and tons of questions to try to get at what they're thinking but also to expose to them whatever box they've placed their characters in - to blow up that box so the journey can begin.
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Generally, the realm in which black playwrights have been allowed to achieve success has been social realism or musicals.
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I've always tried to do shows in a filmic way. I like it when forms smack up against each other.
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All the things that can happen to an artist regardless of how prepared they are and how smart they are and hard-working they are and attractive - doesn't matter. There's always somebody cuter. There just is.
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The only rule of a musical is that it must maintain its buoyancy.
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I feel like I'm edgy and I'm funny and I got this bite, this outrageousness.
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Certain events make people come out of their little boxes and become part of the whole.
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The wonderful thing about theater is that it has so many people involved in the creation of it. The worst thing about theater is that it has so many people involved in the creation of it. That dynamic is thrilling and challenging every time you make a show.
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I love working with a set designer because, in many respects, you meet the set designer before you meet the actors. So it's a chance for me as a director to figure out what I'm thinking and to explore how the space is going to actually be activated.
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You adjust what you do depending on the actor. You evolve a vocabulary and a way of language and talking with each actor.
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Every play is rhythmic control. If you want an audience to go on a journey, it's rhythmic control. You're crafting when they lean in, when they push back, when they breathe, when they surrender.
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I love working with actors who will just go, 'Oh O.K., let's try it and see where it goes,' and 'Let's see what we can discover.'
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At the end of the day, 'Shuffle Along' is about people coming together and making something extraordinary - and history not necessarily being kind to them. It's about the love of necessarily being kind to them. It's about the love of doing, regardless of the consequences.
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I love Kabuki, Noh theater and bunraku.
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Always, when I do a play, there's got to be an equation of risks and potential failure. When you're working on a new play, it's like, 'How the hell do I do this, and do we have the time?' All of these huge questions engage, hopefully, the smartest part of me. And then when you're doing a revival, I went, 'Well, somebody's already solved it.'
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Broadway was very vital back in the '20s. There were probably close to hundreds of productions that opened up through the course of the year and through the course of a Broadway season.
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Our lives are connected in ways we can't imagine. They're connected even before we know they're connected.
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If you love theatre, do theatre wherever you can, because theatre is theatre, and you can experience it anywhere.
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In Los Angeles, wealth and poverty are separated by the freeways. In New York, they're next to each other.
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AIDS is a shared truth - it's not selective in its wrath.
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You've got to make the rehearsal room very safe. You can't bully people, because if you bully people, they're going to freeze and lock up.