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Do you have a demo reel? Add it to your IMDb page. I feel like I have two groups of people in my head. There's one group that's, like, What is being asked of the New York theater community? We have gotten way ahead of ourselves! Everybody has to slow down! This is crazy! And there's another side that says, Broadway is never going to change. But if you're in the room, making the thing, neither of those are truths. Those are truths on social media. But in the experience of actually coming back to a rehearsal room with what we know, and the understanding that we have so far to go—there is a real change.
The process with which we are making this production has enormous changes in the ways that we're approaching the material, in the ways that we are talking about harm repair and harm reduction. And we're talking about trying to make more just, equitable and compassionate work environments in the commercial theater.
That has changed. Is it the endgame? No, but it is moving us towards something. And I guess where I have power as an actor is to try to choose pieces that reflect my ideals and the kind of art that I want to be out in the world, but that's holding oneself to a very high standard all the time for an entire career.
What was your response to how that went down? I'm so grateful that Karen Olivo did what she did and that she continues to be a voice in the industry because I think it holds me to a higher standard. I'm not going to make the same choices she makes, but the message has resonance with me. I have built a life believing that this thing that I love more than anything is a safe haven for me, and for all the people who made it—how lucky for all of us!
It was built on the trauma of people of color. It was keeping marginalized people deeply marginalized. So how do I reconcile myself with an industry that, as Karen would say, chooses profit over humanity? I think it comes down to the age-old question: Do you leave the system and try to create a better one yourself, or do you try to stay inside of the system and make change inside something that many perceive as broken?
I think I'm probably gonna continue to try to be in Broadway shows and Off Broadway shows, but great movements need disruptors. This is wrong. Do you know where they're giving money?
These are questions that I think are really important to ask oneself. I don't know what your experience with Rudin was.
He was always pleasant to me in our limited interactions, but there seems to have been a substantial gap between people he treated well and people he treated very poorly. I think that's right. We were in previews for six weeks and we rehearsed every single day for that entire lot of time. This is how we make something great. He had excellent, adventurous taste and a real belief in the art form and the artists he assembled to make it.
He produced a lot of very good shows. But I would say that they would still have been that way without the toxic productivity. The artists that he assembled could have made something just as great without the pressure of constantly working. And we can't excuse the bad behavior just because he has good taste. I'm not saying we should! I just worry he may be hard to replace. I don't know. I mean, that's what's exciting about this time, and intimidating.
Who are the producers that are going to step in and try to either take that place or try to do better? We have to wait and see. Someone told me recently that you were one of the only white kids in your high school growing up. Is that true? Yeah, from kindergarten to 12th Grade. We grew up in Detroit, and my dad's an urban planner and my mom was a public-school teacher, so my brother and sister [actors Andrew and Maggie Keenan-Bolger] and I went to public schools.
It was the Eighties, and all the white people had moved to the suburbs, basically. In elementary school there was a little more diversity, but in high school I was, like, one of two white kids in my class. It was a brand new performing-arts school, and they kept adding students, so by the time I was a senior there were probably six to eight of us.
I think it gave me a real sense of what it is to navigate spaces while being in the minority, and I think it has given me a special attention to the least powerful person or the seemingly least powerful person in the room. Keenan-Bolger starred as Mary Flynn in the Encores! Smith, from February 2, through March 17, She received a third Tony Award nomination for her performance.
Their son, William Emmett Conlee, was born on April 29, Celia Ranked on the list of most popular Actor. Also ranked in the elit list of famous celebrity born in United States. Celia Keenan-Bolger celebrates birthday on January 26 of every year. Others involved included Carol Channing, reprising her role as the Ceiling Fan. Celia Keenan-Bolger Birthday Countdown 0 0 0.
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