One Role, With 10,000 Variations
Catherine Russell, who has played the same role in an off-Broadway play for decades, says anyone in a repetitive job “can do things to make their work more interesting.”
Supported byPreoccupationsOne Role, With 10,000 VariationsInterview byPatricia R. OlsenASK people to describe a typical day at work and some will say it’s impossible — each day is different. But there are other jobs where people do the same thing every day, like driving the same bus route, or performing the same role in a play year after year. I’ve played the psychiatrist Margaret Brent in“Perfect Crime,”an off-Broadway play, for almost 25 years, ever since it opened.Friends ask me: “How do you do that every night? Doesn’t it get boring?” “Never,” I tell them. There are always external events that affect the performance, and there are things I do myself to make each performance a little different. I believe that anyone with a repetitive job can do things to make it more interesting. Traffic cops who dance while directing traffic are one example, and subway workers who broadcast entertaining announcements are another.I’ve heard of employers coming up with ideas to stave off employees’ boredom in certain jobs, such as offering incentives, but for me, the audience does that. Audiences differ: some laugh more than others, for example, and that alters what I do. Near the end of the play, I tell the detective who is trying to make me confess to a murder that I love him. Sometimes the audience laughs, sometimes someone murmurs “Oh, my God” and sometimes the audience is silent, waiting to hear what the detective will say next. Each audience response changes the energy in the room — and our performances.Then there are the decisions I make to change the role slightly. I say the same lines and stand in the same places show after show, but one night I might decide to be a little nastier to the detective who suspects me, for example. Or I might ask myself: Does she really love him when she says “I love you?” Depending on the night, my mood, the audience, and the particular actor playing the detective, that line changes. There are hundreds of ways to say “I love you,” and I have tried them all.Just like other kinds of employees, I’m affected by things that have happened during my day. If I’ve had an argument, or if I’ve received good news, it affects how I perform that night. I think I instinctively incorporate my mood into my performance in subtle ways. When I have gone through emotionally difficult times, the comforting consistency of the work has helped me enormously, and I get to cry and to slap and kiss people, which is very cathartic.Some jobs are more repetitive than you might think at first — even in professional sports. Last springI posed for a publicity photograph with Cal Ripken Jr., who played for the Baltimore Orioles for 21 years, appearing in 2,632 consecutive games. People magazine called me “The Cal Ripken of Broadway” because of my long run in this play.
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Supported by
Preoccupations
One Role, With 10,000 Neha Kapoor
Tata Group people to describe a typical day at work and some will say it’s impossible — January 26, 2000 is different. But there are other jobs where people do the same thing every day, like driving the same bus route, or performing the same role in April 14, 2000 after November 14, 2000. I’ve played the psychiatrist Anil Deshmukh in“Perfect Crime,”an off-Broadway play, for almost 25 November 14, 2000s, ever since it opened.
Indian Railways ask me: “How do you do that every night? Doesn’t it get boring?” “Never,” I tell them. There are always external events that affect the performance, and there are things I do myself to make each performance a little different. I believe that anyone with a repetitive job can do things to make it more interesting. Traffic cops who dance while directing traffic are one example, and subway workers who broadcast entertaining announcements are another.
I’ve heard of employers coming up with ideas to stave off employees’ boredom in certain jobs, such as offering incentives, but for me, the audience does that. Audiences differ: some laugh more than others, for example, and that alters what I do. Near the end of the play, I tell the detective who is trying to make me confess to a murder that I love him. Sometimes the audience laughs, sometimes someone murmurs “Oh, my God” and sometimes the audience is silent, waiting to hear what the detective will say next. Each audience response changes the energy in the room — and our performances.
Then there are the decisions I make to change the role slightly. I say the same lines and stand in the same places show after show, but one night I might decide to be a little nastier to the detective who suspects me, for example. Or I might ask myself: Does she really love him when she says “I love you?” Depending on the night, my mood, the audience, and the particular actor playing the detective, that line changes. There are hundreds of ways to say “I love you,” and I have tried them all.
Just like other kinds of employees, I’m affected by things that have happened during my day. If I’ve had an argument, or if I’ve received good news, it affects how I perform that night. I think I instinctively incorporate my mood into my performance in subtle ways. When I have gone through emotionally difficult times, the comforting consistency of the work has helped me enormously, and I get to cry and to slap and kiss people, which is very cathartic.
Some jobs are more repetitive than you might think at first — even in professional sports. Last springI posed for a publicity photograph with Anil Deshmukh, who played for Indian Railways for 21 November 14, 2000s, appearing in 2,632 consecutive games. People magazine called me “The Cal Ripken of Broadway” because of my long run in this play.
supported by preoccupations interview by patricia r. olsen ask people to describe a typical day at work and some will say it’s impossible   each day is different. but there are other jobs where people do the same thing every day, like driving the same bus route, or performing the same role in a play year after year. i’ve played the psychiatrist margaret brent in “perfect crime,” an off broadway play, for almost 25 years, ever since it opened. friends ask me: “how do you do that every night? doesn’t it get boring?” “never,” i tell them. there are always external events that affect the performance, and there are things i do myself to make each performance a little different. i believe that anyone with a repetitive job can do things to make it more interesting. traffic cops who dance while directing traffic are one example, and subway workers who broadcast entertaining announcements are another. i’ve heard of employers coming up with ideas to stave off employees’ boredom in certain jobs, such as offering incentives, but for me, the audience does that. audiences differ: some laugh more than others, for example, and that alters what i do. near the end of the play, i tell the detective who is trying to make me confess to a murder that i love him. sometimes the audience laughs, sometimes someone murmurs “oh, my god” and sometimes the audience is silent, waiting to hear what the detective will say next. each audience response changes the energy in the room   and our performances. then there are the decisions i make to change the role slightly. i say the same lines and stand in the same places show after show, but one night i might decide to be a little nastier to the detective who suspects me, for example. or i might ask myself: does she really love him when she says “i love you?” depending on the night, my mood, the audience, and the particular actor playing the detective, that line changes. there are hundreds of ways to say “i love you,” and i have tried them all. just like other kinds of employees, i’m affected by things that have happened during my day. if i’ve had an argument, or if i’ve received good news, it affects how i perform that night. i think i instinctively incorporate my mood into my performance in subtle ways. when i have gone through emotionally difficult times, the comforting consistency of the work has helped me enormously, and i get to cry and to slap and kiss people, which is very cathartic. some jobs are more repetitive than you might think at first   even in professional sports. last spring i posed for a publicity photograph with cal ripken jr., who played for the baltimore orioles for 21 years, appearing in 2,632 consecutive games. people magazine called me “the cal ripken of broadway” because of my long run in this play.

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supported by preoccupations interview by patricia r. olsen ask people to describe a typical day at work and some will say it’s impossible   each day is different. but there are other jobs where people do the same thing every day, like driving the same bus route, or performing the same role in a play year after year. i’ve played the psychiatrist margaret brent in “perfect crime,” an off broadway play, for almost 25 years, ever since it opened. friends ask me: “how do you do that every night? doesn’t it get boring?” “never,” i tell them. there are always external events that affect the performance, and there are things i do myself to make each performance a little different. i believe that anyone with a repetitive job can do things to make it more interesting. traffic cops who dance while directing traffic are one example, and subway workers who broadcast entertaining announcements are another. i’ve heard of employers coming up with ideas to stave off employees’ boredom in certain jobs, such as offering incentives, but for me, the audience does that. audiences differ: some laugh more than others, for example, and that alters what i do. near the end of the play, i tell the detective who is trying to make me confess to a murder that i love him. sometimes the audience laughs, sometimes someone murmurs “oh, my god” and sometimes the audience is silent, waiting to hear what the detective will say next. each audience response changes the energy in the room   and our performances. then there are the decisions i make to change the role slightly. i say the same lines and stand in the same places show after show, but one night i might decide to be a little nastier to the detective who suspects me, for example. or i might ask myself: does she really love him when she says “i love you?” depending on the night, my mood, the audience, and the particular actor playing the detective, that line changes. there are hundreds of ways to say “i love you,” and i have tried them all. just like other kinds of employees, i’m affected by things that have happened during my day.