George C. Wolfe Quotes
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I think all creative people are operating from the fear that, of the best of what they did, will anybody remember it? Will anybody tell stories about them? Will anybody keep those pictures on the mantle long after they are gone? It's why people write stories. It's peoples' grave markers.
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As a person of color, I was trained from very early on to see 'Leave It to Beaver,' 'Gilligan's Island,' or 'Hamlet' and look beyond the specifics of it - whether it be silly white people on an island or a family living in Nowheres or a Danish person - to leap past the specifics and find the human truths that have to do with me.
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I really don't find revivals very interesting because I like new work a lot. I feel like if you're going to pay me, then let me do what I do and let me try to solve some problems. Let me try to make something fly. Why would I do something that everybody has already done the hard work on? But that's me. Tons of people do revivals really well.
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A musical is what happens when text collides with motion collides with song collides with spectacle. And spectacle can be the human heart; it doesn't necessarily have to be a helicopter crashing.
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I like to knock down walls and allow others to enter.
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Certain events make people come out of their little boxes and become part of the whole.
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I don't go, like, 'Hmm, I'm now going to create something for the black community.' I just feel this compelling urge. I just feel myself drawn to stories that I feel have a potency and immediacy.
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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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On different projects, different pieces of you will show up. Sometimes it's surprising which piece shows up.
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There is a real affection for these human beings on these stage that O'Neill really had. Out of that affection comes a lot of humor, which is unexpected when you think of 'The Iceman Cometh.'
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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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Confidence comes in going on personal journeys in a public arena and feeling as though you have a right to do that. You have to give yourself permission to discover what you need to discover and not worry about how pretty the journey is. If you're aware of the pretty, you're not going to dig into the mess.
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A lot of directors tend to manipulate actors' vulnerability to get what they want, and that can work.
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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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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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I feel like I'm edgy and I'm funny and I got this bite, this outrageousness.
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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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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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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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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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Our lives are connected in ways we can't imagine. They're connected even before we know they're connected.
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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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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.
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There is a strange kind of parental pride when 'Topdog' ends up on Broadway, or 'Elaine Stritch.'