A Quote by Christopher Jackson

I'd like to think of myself as an ambassador for Broadway. — © Christopher Jackson
I'd like to think of myself as an ambassador for Broadway.
If you don't go to Broadway, you're a fool. On Broadway, off Broadway, above Broadway, below Broadway, go! Don't tell me there isn't something wonderful playing. If I'm home in New York at night, I'm either at a Broadway or an Off Broadway show. We're in the theater capital of the world, and if you don't get it, you're an idiot.
I'm very comfortable with my own body. I come from Broadway — everybody's naked on Broadway. I like to think of myself as more granola. I'm not going to run around naked or anything like that unless I'm at my own home. Today, I walked into my backyard and was standing out there naked for a while. Don't tell: my neighbors will freak out!
You know what is ambassador's job? To have as many contacts in political establishment as possible. This is the job of Russian ambassador in Washington, of American ambassador to Moscow and of every ambassador in every country of the world.
Broadway, in my opinion, is a microcosm of America. Those challenges that we have in our country, I think we still have those challenges on the Broadway stage. I think there are far too few African-American directors working on Broadway.
I think 'Hand to God' is going to change the landscape of Broadway. I think Broadway, truthfully, will never be the same.
I'm a big chicken guy, and Wingstop chicken wings are my number one go-to, so I just got involved with the company. I purchased a few franchises myself. I like to consider myself a global brand ambassador.
I don't think that everything on Broadway relates to us, and I think that's why we as black people don't always go to Broadway shows, but shows like 'What's on the Hearts of Men' has a lot of issues that can relate to black families, and that's why I enjoy it.
I'm not a person who believes that Broadway is the only place. I think there's lots of work that goes on outside of Broadway and outside of New York that's better than anything Broadway has ever seen. But, it's historically the place. It's one of the centers of the universe, in many ways.
It took me a while to figure it out, but to have a real hit on Broadway, you have to get the respected Broadway people to like it. But then the production also has to appeal to the most middle-class people who know nothing about Broadway and who come to see it later.
I wanted to be a therapist if the acting didn't work. I also did a lot waitressing and odd jobs. I'd audition but couldn't get hired to save my life. I'd do Off-Broadway theatre and that was great and I was excited and thrilled, feeling like, 'Well, it's Off-Broadway, but there's still the Broadway in there.'
The function of a briefing paper is to prevent the ambassador from saying something dreadfully indiscreet. I sometimes think its true object is to prevent the ambassador from saying anything at all.
I remember telling the agent, 'I don't want to do anything but Broadway.' She was like, 'That's not really possible because there is not that much Broadway. So I'll send you out on TV and stuff like that.'
I think that one of the most exciting things about making films is the sort of reaching out to the world. It's as an ambassador. You realize the more you travel that you are a cultural ambassador for your own country. You never become more patriotic than you do living abroad.
There is definitely that thing here a little where people are like 'Oh that Broadway girl has come to Nashville' and I'm like 'Listen you guys, I was singing country before I even got a Broadway show. And I'm from Kentucky.'
During the winter of 2013, we were running 'Comet' up in midtown - as opposed to downtown - and across the street in the Standard, and that was, like, our third time going at it, from Ars Nova to downtown to near Broadway. We weren't on Broadway. We were near Broadway, as we said.
Hip-hop was indifferent to Broadway. We didn't need Broadway, but I think Broadway needed hip-hop.
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