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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.
George C. Wolfe -
'You Gotta Have Heart' is one of the most ridiculously perfect, amazing musical comedy songs ever.
George C. Wolfe
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There's no place more theatrical than history.
George C. Wolfe -
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.
George C. Wolfe -
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.
George C. Wolfe -
A lot of '20s musicals were a hodgepodge of melodrama, mixed with operetta and romance, and then some sense of modernism and some sense of irreverence.
George C. Wolfe -
The Public Theater requires one to be very public, and writing requires one to be very private.
George C. Wolfe -
Musicals spring forth from minstrelsy, vaudeville, melodramas; it was all these things combined to create the form.
George C. Wolfe
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'Jelly,' more than any black musical before it, celebrated the majesty, the purity, the joy of so many artists who are unable to fully embody these same qualities in their own lives.
George C. Wolfe -
I love Kabuki, Noh theater and bunraku.
George C. Wolfe -
Each actor, every single time you work with an actor, you have to come up with the language that's going to serve them. And that's what allows them to give the performance that you want to nurture inside of them and what you think they're capable of giving.
George C. Wolfe -
I think I am the first person of color to direct a major white play on Broadway. In 1993? That's astounding to me. And horrifying to me.
George C. Wolfe -
I came to New York to write and direct, and when I got here, a lot of my rage came out.
George C. Wolfe -
Certain things come to me; I just become intrigued by them and want to live inside them.
George C. Wolfe
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Theater should address the stories of its communities, or I don't know why it's here.
George C. Wolfe -
My first play, 'The Colored Museum,' was done in '86 at the Public Theater.
George C. Wolfe -
There is a strange kind of parental pride when 'Topdog' ends up on Broadway, or 'Elaine Stritch.'
George C. Wolfe -
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.
George C. Wolfe -
I think we all have a primal desire to know as much as we can to find out about where we come from.
George C. Wolfe -
I want to create a theater that looks, feels, and smells like America.
George C. Wolfe
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The world doesn't see a lot of gray. The world sees black and white, and then it understands.
George C. Wolfe -
You can go see ballet in its purity; you can go to a recital to hear music by itself. But what the American musical does so thrillingly is bastardize these forms into something that is exhilarating and compelling and deeply moving.
George C. Wolfe -
Doing any kind of culture in America in which you are not trying to affirm a European aesthetic is war.
George C. Wolfe -
When 'The Normal Heart' first appeared, the sense of urgency was so important.
George C. Wolfe