"As a working actor, all I want to do is work. That's it. It's terrifying when you don't work. It's very hard when you don't work. There have been times when I've been out of work for like six months. I feel theatre to me is like manna"
About this Quote
Work, for Sandra Oh, isn’t a vanity metric or even a career ladder. It’s oxygen. The repetition in “work…work…work” strips acting of its glamour and frames it as a trade with a brutally simple dependency: if you’re not hired, you’re not practicing your craft. That’s the hidden cruelty of an industry that sells itself as passion-driven while running on scarcity. When she calls unemployment “terrifying,” she’s not begging for sympathy; she’s naming the quiet panic that sits behind most red-carpet mythology. Even for someone as accomplished as Oh, the floor can drop out for six months at a time. The subtext is that success doesn’t cancel precarity - it just makes the pauses feel more absurd.
Then she pivots to theatre as “manna,” and the metaphor does a lot of cultural work. Manna is daily sustenance, not a feast; it’s what keeps you alive in the desert, not what earns applause at the palace. Theatre becomes the dependable source of nourishment in a profession otherwise governed by waiting, auditions, and the whim of casting. It also signals a kind of actor’s faith: theatre is where craft is renewable, where you show up and do the thing in real time, without the buffering protections of editing and spectacle.
In context, Oh’s quote reads like a corrective to the fantasy of acting as perpetual visibility. She’s arguing for labor - steady, embodied, unromantic - as the real prize, and for theatre as the place that remembers actors are workers before they’re brands.
Then she pivots to theatre as “manna,” and the metaphor does a lot of cultural work. Manna is daily sustenance, not a feast; it’s what keeps you alive in the desert, not what earns applause at the palace. Theatre becomes the dependable source of nourishment in a profession otherwise governed by waiting, auditions, and the whim of casting. It also signals a kind of actor’s faith: theatre is where craft is renewable, where you show up and do the thing in real time, without the buffering protections of editing and spectacle.
In context, Oh’s quote reads like a corrective to the fantasy of acting as perpetual visibility. She’s arguing for labor - steady, embodied, unromantic - as the real prize, and for theatre as the place that remembers actors are workers before they’re brands.
Quote Details
| Topic | Work |
|---|---|
| Source | Help us find the source |
More Quotes by Sandra
Add to List




