Jane Krakowski reflects on her career, stating, “I’ve participated in three television series that had a significant impact.” She humorously adds that it may sound arrogant, so she prefers to have others express it for her. The first of these shows was “Ally McBeal,” which aired from 1997 to 2002, where she portrayed Elaine Vassal, a quirky character in a pioneering series. Discussions surrounding the show often revolved around the type of feminism represented by its neurotic protagonist, a new representation of the Career Woman that resonated with many viewers. Krakowski’s character served as a contrast to Calista Flockhart’s lead, embodying a bold and eccentric persona, unbothered by societal judgments. Likewise, in “30 Rock,” which aired from 2006 to 2013, her character Jenna Maroney presented a foil to Tina Fey’s Liz Lemon—Krakowski’s portrayal was marked by a lack of self-awareness compared to Fey’s character, who was often burdened by it. Two years post-“30 Rock,” she appeared in Fey’s follow-up series, “Unbreakable Kimmy Schmidt,” as Jacqueline White, a detestable yet captivating wealthy socialite in a comically absurd setting that only this ensemble could bring to life.
Debates persist regarding whether “Ally McBeal” pioneered the “dramedy” genre or merely refined it, while discussions on Fey’s comedic style can be quite engrossing. Regardless, Krakowski consistently crafts characters that feel uniquely realized rather than merely scripted. Her performances are characterized by a vibrant expressiveness that is both energetic and controlled, delivering humor that seems instinctive yet meticulously crafted, resulting in a powerful combination of dialogue and performance.
This perspective isn’t particularly groundbreaking; Krakowski’s exceptional talents have been acknowledged throughout her career. She frequently appears on the nomination lists for prestigious awards such as the Emmys, Golden Globes, and SAG awards. Even during Tony award seasons, she’s often mentioned, regardless of whether she’s nominated (having received three nominations and one win). Recently, she attended the Olivier Awards in London, nominated for her performance in “Here We Are,” Stephen Sondheim’s challenging final musical, marking 20 years since her Olivier win for “Guys and Dolls.” Although she did not win this time, she expressed her excitement about being part of the event, stating, “I don’t think the odds are going my way, but I’m so thrilled to be here.” Her unwavering positivity is striking, especially considering the complex roles she has portrayed throughout her career.
While it may seem presumptuous to declare that stage performance is her primary passion given her extensive screen experience, it is evident that at 57, Krakowski seldom goes two years without appearing in a stage production, with her latest being “Oh, Mary!” on Broadway. She describes the show as having a “wonderfully loyal and returning gay fanbase,” sharing that the experience was “incredibly joyous.”
Krakowski attributes her love for the theater to her family’s unique passion for the performing arts. Growing up in New Jersey, she was raised by a chemical engineer father and a college theater professor mother. “We were a family that would wait in the TKTS line in New York City for hours to get affordable tickets and see everything we could,” she recalls. Initially aspiring to be a ballet dancer, she later realized that she wouldn’t be selected for the School of American Ballet. Reflecting on that experience, she mentions, “The world was always striving for a version of perfection back then,” noting that acceptance in ballet companies required adherence to a strict body type—a standard that has since evolved and diversified beautifully.
This early discouragement indirectly influenced her performance identity, leading her to recognize that “perfection is an illusion.” She became fascinated by the quirks and imperfections that make individuals interesting, a perspective she seeks to celebrate in her characters. This realization has also instilled in her a commendable discipline, a hallmark of a seasoned performer—never missing a show or succumbing to illness. Educated at the Professional Children’s School, established for young performers to receive an education alongside their stage careers, she learned alongside aspiring Broadway dancers and witnessed the impressive athleticism required for the craft.
At the age of eight, she was captivated by “Chicago,” where the iconic Chita Rivera tossed a rose directly at her as the curtain fell. This moment stands out as more significant than her early film career, which began with a role in “National Lampoon’s Vacation” at just 12 years old. Years later, in 2003, she starred in “Nine” alongside Rivera. Both were nominated for Tony awards in the same category, and Rivera’s words on the final day, acknowledging their shared discipline, deeply touched Krakowski. Rivera remarked, “We don’t miss shows. Unless I’m in an ambulance with a broken leg, I’ll be at the theater.”
The 1980s saw a surge of British influence on Broadway, particularly through figures like Andrew Lloyd Webber and Trevor Nunn, the latter of whom Krakowski respectfully refers to as “Sir.” She auditioned for “Les Misérables” but was not cast, a decision she later embraced as it led her to form a close friendship with Frances Ruffelle, who succeeded in the role. Lloyd Webber invited her to audition for “Starlight Express,” a whimsical story about the inner lives of trains, performed on roller skates. Despite her limited experience with roller skating, she seized the opportunity and successfully landed the role, embracing the challenge wholeheartedly.
