A Quote by Branden Jacobs-Jenkins

I'm not a really firm believer in theatre that is 'about anything.' I don't think theatre can be about anything other than the people who show up and the value that they hold.
Most theatre is still really bad. It has to appeal to people who do jobs and have lives. Theatre about theatre is the most awful, terminal nonsense.
I trained in the theatre and I love the theatre. I get such a thrill seeing anything in the theatre.
I was really, really, really enthusiastic as a kid. I was up for anything. I was hugely into music and theatre. I was a big musical theatre kid; I loved reading.
Theatre is expensive to go to. I certainly felt when I was growing up that theatre wasn't for us. Theatre still has that stigma to it. A lot of people feel intimidated and underrepresented in theatre.
I did spend about 5 years in the Griffin Theatre Company in 1978 actually , and worked therefore about 5 years on a voluntary basis. This was very much as a amateur, doing things like mopping the floor, handling props, setting up scenery, etc. I never acted, and don't think I'm an actor, but those years in the theatre taught me a lot about professional theatre.
It meant the world to see kids excited about theatre. That's the great thing about 'Hamilton' for me is to see young people who wouldn't normally think theatre is cool being really excited about how it works and getting involved.
Theatre can entertain, provoke, challenge, investigate, comfort and educate. It's arrogant of a playwright to think education is more important than anything else. Writing for the theatre does not give you permission to lecture, hector or bore.
I was a tomboy growing up and then fell into the world of theatre and musical theatre. A girlfriend introduced me to yoga in college and I was hooked. I didn't really know anything about it except that it was the highlight of my week. I ended up graduating from the University of Virginia and moving to Los Angeles where I could continue acting and do a yoga teacher training. I went from practicing once or twice a week to several hours everyday. I loved it.
The theatre training is second to none in Ireland and England. You meet people who haven't had theatre training - it is harder for people who worked in TV to go into theatre than the other way around.
I'm not good at doing show business; I'm a theatre person. I don't reveal anything about my life.
Nothing is more debilitating than to care about something you can't do anything about. And you can't do anything about your adult children. You can want better for them, and maybe even begin to provide something for them, but in the long run, you cannot do anything about someone else's vibration other than hold them in the best light you can, mentally, and then project that to them. And sometimes, distance makes that much more possible than being up close to them.
Youth theatre isn't just about a precocious child that wants to sing and dance in front of people. It's for everyone; it's about a community, it's about being supported by your peer group. You learn skills - not just acting but all the other sides - working in the TV, film, and theatre industry.
I didn't go to university. I studied theatre in high school and worked with Canberra Youth Theatre and The Street Theatre and other theatre organisations in Canberra, and that's how I got my training.
If you want to get into the shoes of someone, it's not just about seeing and hearing. It is also about what you touch and what you smell. Smell is so specific and so powerful. And this is the beauty of immersive theatre - it's something you cannot get in any other art form. I think this is the real future for theatre.
There are two kinds of theatre, good and bad. Much as I should like to see theatre in America, I would rather have no theatre than bad theatre. What we must strive for is perfection and come as close to it as is humanly possible.
It seems to me, in this culture, you need to have a subsidy to do theatre, not that I put theatre above anything else.
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