American - Playwright | September 23, 1954 -
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.
George C. Wolfe
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If I hadn't told stories, I would've been a historian.
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I came to New York to write and direct, and when I got here, a lot of my rage came out.
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Surviving failure is one thing. Surviving success is... is challenging, with the consequences and what you lose along the way.
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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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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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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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I think there's an aspect of my soul, of my personality, that's very suited to directing. I like being in the room with actors; I love creating a safe space and a chaotic space for the discovery to take place. I love creating a sense of community.
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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.
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One of the things I learned very early on was that if you cast the show correctly, and if you've created the right energy in the room, the solution is also in the room. The solution doesn't necessarily come from someone, but if everybody is working in a very steadfast and rigorous way, then everything you're looking for is in the room.
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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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The hardest thing about a musical is making sure everybody is working on the same damn show. That is the monster.
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