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George C. Wolfe Biography

George C. Wolfe

George Costello Wolfe (born September 23, 1954) is an American playwright and director of theater and film. He won a Tony Award in 1993 for directing Angels in America: Millennium Approaches and another Tony Award in 1996 for his direction of the musical Bring in 'da Noise/Bring in 'da Funk. He served as Artistic Director of The Public Theatre from 1993 until 2004.

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George C. Wolfe Quotes

Any time there is a cultural breakthrough in which this culture transcends what it's supposed to be, there's a violent reaction. So we had a black president, and it's followed by an incredibly violent reaction. It happens over and over.

Black, Cultural, Culture, President, Time

God created black people and black people created style.

Black, God, People, Style

A friend of mine said that when Barack Obama was running for president, there was a whole generation of white kids who are used to looking up to a black person center stage speaking. And that's because of hip-hop. So there was no adjustment. A person of color in authority at times is very startling to people. But as time goes on, it becomes less startling.

Generation, Kids, People, Running, Time, Whole

It's very important for an audience to know where they are and why they are there in a musical. It allows them to relax and follow this form that operates in shorthand. So the economy of the form, in many respects, is why a lot of screenwriting is so sleek. Because the visuals are where the explosions happen.

Economy, Important, Musical, Relax, Screenwriting, Shorthand

With music, you can create instant trust with an audience. You can hear three notes, and you surrender to it, whereas it takes you about ten minutes of language before people begin to trust you in a play.

Begin, Hear, People, Play, Ten, Three

Most musicals are informed by very rigid archetypes. If you get a very sophisticated mind writing them, you sense something else, but it's a folk-art form, really, at its best. At different times I've tried to push against it as much as I possibly could, but ultimately it is a folk-art form.

Different, Mind, Sense, Ultimately, Writing

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

Everybody, Hardest, Making, Musical, Thing

I'm watching the show and I'm watching the audience watch the show. Because once you leave the rehearsal room, you have space and you can see it. You can watch them watch it. You can't see your work, really, until you're in the theater. You have no perspective. That's not part of my job, to go, "Oh my God, they're so brilliant. " I'm not required to swoon.

Audience, Brilliant, Part, Perspective, Work

I'm dancing to the music of the madness inside me.

Dance, Dancing, Madness, Music

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. It takes you probably five to six minutes to build trust with an audience. A musical you can build trust in three notes. Boom, boom, boom, you're instantly seduced. So musicals have this easy potency, but generally, in my opinion, they waste them, because a musical is incredibly hard to do.

Boom, Control, Journey, Musical, Opinion

I think musicals are a lowbrow, populist art form. And I don't mean lowbrow in a condescending way at all - they are designed to create delight, wonder, joy, surprise. And what becomes really interesting is when innovative or challenging or smart people take it and use the easy runway that the form allows to take people to another planet, or another place. Or subvert it in some way.

Allows, Art, Challenging, Mean, Populist, Thinking