George C Wolfe Quotes

The worst thing when you're working is to say, 'I have a question,' and the other person goes, 'No! This is what it is.' That kind of rigidity is very challenging because musicals are constantly mutating.
Theater should address the stories of its communities, or I don't know why it's here.
Theater, at the end of the day, is about ideas. It's about very large ideas. And if the play is beautifully written or smartly written and has incredible characters you follow on the journey, you take home these larger ideas. Whether it's 'Angels in America' or 'Lucky Guy' or 'Normal Heart,' you follow this moment-to-moment journey as an audience.
There are a lot of people who will tell you I'm very ruthless. I'm very fierce. If I feel I'm right, if I feel I've been violated, then I am like a warrior from hell!
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.'
There is a strange kind of parental pride when 'Topdog' ends up on Broadway, or 'Elaine Stritch.'
There's no place more theatrical than history.
To me, 'Show Boat' was the first American musical, the first to have the real texture of this country.
To want to come to New York, you have to have a sense of wonder about the world and a foolish sense of worth about yourself. And I, too, had both of those things.
Ultimately, theatre is about creating a sense of wonder, and I think wonder is achieved not by a kind of wide-eyed silliness but by being available to that which is most unknown, inside the material and inside yourself.
When 'Jelly's' went out on tour, no one really wanted it. It was undersold. And I knew if I gave 'Noise' to someone else, they would sell it as 'Stomp' with little dancing black boys.
When 'The Normal Heart' first appeared, the sense of urgency was so important.
When I came to New York, I told everyone I was a writer/director, and they said, 'No.' There was a rule. You could be one or the other. They ordained me writer. But then I won the Obie for directing 'Spunk,' and the rules changed.
When I was little, I remember rehearsing starving so that when I got to New York I would know how to do it.
When I was on dialysis, I willed myself to do 'On the Town.' It accesses my most childlike, joyful love of theater.
When you're writing, in theory, everybody is serving you. When you're directing, you're serving everybody - in the guise of acting like everybody's serving you. But you're really serving the materials. You're serving the actors. You're in charge, but it's not free.
With actors, I have very close, intense working relationships with actors in theater.
You adjust what you do depending on the actor. You evolve a vocabulary and a way of language and talking with each actor.
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.
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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AuthorName
George C. Wolfe
Profession
Playwright
BirthDate
23 September, 1954
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