American - Playwright | September 23, 1954 -
Musicals spring forth from minstrelsy, vaudeville, melodramas; it was all these things combined to create the form.
George C. Wolfe
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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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1985 - That was my time in New York, and I have such poetic, fond memories.
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My first play, 'The Colored Museum,' was done in '86 at the Public Theater.
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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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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.
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'You Gotta Have Heart' is one of the most ridiculously perfect, amazing musical comedy songs ever.
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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.
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Certain things come to me; I just become intrigued by them and want to live inside them.
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My absolutely favorite time of working on a project is the time I spend not knowing what it is. Because the longer you live inside that period, the likelier you are to discover something new.
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I was obsessed with New York early on. I was watching sitcoms that were set in or around New York, like 'The Dick Van Dyke Show.' I was always very fascinated with the people who were on 'What's My Line?' and I always had an incredible obsession with the city.
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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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