A Quote by Lynn Nottage
If the Tony Awards want to remain relevant in the American theater conversation, then they need to embrace the true diversity of voices that populate the American theater.
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You'd have to go all the way back to 1972 to find a version of me who didn't care about theater, who didn't read Playbill and watch the Tony Awards, or get why Bob Fosse's choreography was so groundbreaking that all you need to say is 'Fosse hands' and theater people know what you mean.
Musical theater is an American genre. It started really, in America, as a combination of jazz and operetta; most of the great musical theater writers in the golden era are American. I think that to do a musical is a very American thing to me.
My pride at being a member of the theater community is deep, and we have a chance to reach a lot of people who might feel like there's a place for them. I want theater to be part of the cultural conversation and be on par with all mediums of television in its ability to be relevant.
The musical theater is a glorious and distinctly American innovation in the history of theater.
I've never done theater professionally. But I went to the American Academy of Dramatic Arts, so I did some theater there.
I don't think theater is dying, and musicals are a great American art form. We've got apple pie, jazz and musical theater.
I find theater terrifying. There are no do-overs, you know? It's all happening live. You need to be in it 100 percent at any given moment, and the audience is right there. I'm really intimidated by theater, but it is my first true love. I love theater. I love that anxiety.
American Odyssey' will be an amazing adventure inside the musical walls of our cities. It's theater, and radio has always been great theater to me.
I would like to have won a Tony, I guess, because I have always thought of myself as a theater person. But I've won my share of awards, so I don't worry about it.
I think American actors are much more intimidated by Shakespeare. I actually want to do this Shakespeare play in New York, but I think it's interesting that there's this gaping hole in the repertoire in the American theater, which is Shakespeare. It's hardly ever done, compared to how often it's done in other companies, not just Britain. Someone from the Roundabout Theater Company - I said, "You never do Shakespeare." And he said, "Yes, we're not very good at it." And I thought, "What a terrible thing to say.".
I would not change very much about the American theater. I marvel and rejoice in the way the country's regional theaters have formed a network that has become, in essence, our National Theater.
When I die, it's going to read, 'Game Show Fixture Passes Away.' Nothing about the theater, or Tony Awards, or Emmys. But it doesn't bother me.
I went to college and did theatre. After that, I spent about three years in Seattle doing French theater and community theater and sorting it all out. Then I applied to graduate school and got accepted, so I started pursuing my master's in theatre at the American Conservatory Theatre in San Francisco.
I did my Doctorate on the House Un-American Activities Committee's effect on the American theater.
I want to keep working. I want to step away from young adult fiction. I want to do theater periodically - Farragut North reminded me how great it is. I started out in theater. I trained in theater and then I kind of fell into film and TV. I want to work with interesting artists, talented actors, talented directors, and talented scripts. Not necessarily leading roles.
I looked at theater, in the sense that theater is unmanipulated. If I want to pay more attention to one character on stage than another, I can. I think there's not enough theater in film and not enough film in theater, in a way.
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