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.

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.

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.

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.

I was raised to believe that other people's suffering was my responsibility.

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.

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.

If you love theatre, do theatre wherever you can, because theatre is theatre, and you can experience it anywhere.

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.

Commercial theater, in its agenda to appeal to everybody, is often at the expense of the unique vision of the artist.

The rules I sort of live by for my theater career, which I hope to live for my film career, is that if there's something that intrigues me or fascinates me, or I don't know how to do it, then I should do it.

A music serves truth up to you in a really interesting way that allows you to luxuriate in its beauty and, at the same time, to hopefully see yourself in its fragility.

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.

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.

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.

I'm interested in exploring how an individual maintains a sense of power in a world that tends to make individuals feel powerless.

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.

The hardest thing about a musical is making sure everybody is working on the same damn show. That is the monster.

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.'

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 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.