A Quote by Andrew Rannells

I used to do community theater with Conor Oberst. — © Andrew Rannells
I used to do community theater with Conor Oberst.
My friends actually used to call me the 'Female Conor Oberst.' I got to open up with him once, and I told him about that, and he thought it was hilarious.
I used to be a 55er, Conor used to be a 45er. I'm naturally a 70 pounder, Conor's probably a natural 55er. I'm a small 70 pounder though and Conor's a decent-sized 55er so the size is not that much. It's not incomparable.
I was actually with Conor Oberst on tour, and we were walking down the street getting a coffee. I walked into a random hipster-y coffee shop and I heard my own song, and I was so stoked.
After a casual listen, it might be easy to lump Rocky Votolato in with the downtrodden likes of Conor Oberst and Elliott Smith. But his songwriting is a bit more triumphant than theirs: Votolato would rather pull himself out of a gutter than wallow in it, focusing instead on the victory before the misery.
Everybody asks 'would you fight Conor McGregor?' - of course I'd fight Conor McGregor but it's not because of the money. It's because he's such a huge martial artist and everybody considers themselves the best if you fight Conor McGregor, if you beat Conor McGregor. I look at it like that.
I did as much theater as I could. I worked at a theme park and a Bible theater and a community theater.
I'm a theater guy at heart; I love the theater. I was lucky enough to spend a good decade and a half in the New York theater community.
The theater community at large, I have to say, has just been so warm and so welcoming, and that's not something I'm as used to.
That theater community that comes with acting and being in the theater is second nature to me. It's in my blood.
Theater is such a small community that every brilliant piece of theater raises us all up.
For Conor McGregor, I'm coming out of retirement just to fight Conor McGregor.
From the time I was five years old, theater was all I knew. I did community theater; I went to theater school. It's like going to the gym as an actor: every single night, you have to recreate the illusion of the first time, so you really have to listen and connect and stay in the moment for an hour and a half - with no breaks.
I was interning at a children's theater group in Kentucky - that was my first job out of college. I had jumped around a couple of regional theaters, and I was about to go back to Maine to work at a summer Shakespeare theater there. I didn't want to just jump around the country from gig to gig. I really wanted to go to a city and get involved in a theater scene and a theater community.
The economics of theater are painful. I still think that the theater community should be looking much more rigorously at how to let the playwright keep the money they make.
I came up in the community center. I used to be physical director of the South Central Community Center in Chicago on 83rd. It's still there. It used to be around there when I was a kid.
With my good friend Rob Penny, I founded the Black Horizons Theater in Pittsburgh with the idea of using the theater to politicize the community or, as we said in those days, to raise the consciousness of the people.
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