She appeared in a television commercial for Atari 2600 Solar Fox video game in the 1980s. She was also in the TV ad for Clairol Herbal Essence Shampoo.
For the TV series 30 Rock, Krakowski was called in as a last-minute replacement for Rachel Dratch for the character Jenna Maroney. The role was recast since it was defined as a "much blonder, more conventionally bimbonic part" and the casters felt Jane was more apt for the role.
Among the albums she did recordings for are Lost in Boston IV, Sondheim at the Movies, Hudson River Blues, and The Burt Bacharach Album. In 2002, she also sang "You" in Jim Brickman's album Love Songs & Lullabies.
Film and TV Movie Credits:
• Cirque du Freak: The Vampire's Assistant (2009) as Corma Limbs
• Bygone Days: An Ally McBeal Retrospective (2009) (V)
• TV's 50 Funniest Phrases (2009) (TV) as Narrator
• A Muppets Christmas: Letters to Santa (2008) as Claire's Mom
• Open Season 2 (2008) as Giselle
• The Rocker (2008) as Carol
• Sex, Power, Love & Politics (2006) as Sloan
• Mom at Sixteen (2005) as Donna Cooper
• A Christmas Carol (2004) as Ghost of Christmas Past / Streetlamp Lighter
• Taste (2004) as Samantha Neal
• Just a Walk in the Park (2002 as Rachel Morgan
• CatDog: The Great Parent Mystery (2001) as CatDog's Mother/Pus$ycat Catfield
• Women & Men 2: In Love There Are No Rules (1991) as Melba
• When We Were Young (1989) as Linda Rosen
• No Big Deal (1983) as Margaret
Krakowski performed the song "Love's just a Phone Call Away" in When Zachary Beaver Came to Town (2003). She also sang "Cheek to Cheek" in Gray Matters (2006).
Krakowski once had a seven-year long-distance relationship with British lyricist Charles Hart and was once romantically involved with British documentarian Marc Singer, actor Julian Ovenden, and American lyricist Adam Guettel. Since 2009, Jane has been dating TV writer and producer Aaron Sorkin.
She settled in New York in 1981. In 2005, she lived in London, England and did some theater there. Subsequently, she has moved back to the US and has been living in Greenwich Village, New York.
She appeared in the Dixie Chicks' "Goodbye Earl" video clip in 2000.
• The Magnificent Christmas Spectacular, (Radio City Music Hall, New York City, 1979)
• A Little Night Music as Fredrika (York Players Company, Church of the Heavenly Rest, 1981)
• American Passion, 1984
• Miami as Denise Fine (Playwrights Horizons, New York City, 1986)
• Perfect for Blue (Westbeth Theatre Center, New York City, 1986)
• Starlight Express as (Gershwin Theatre, 1987-1989)
• Grand Hotel as Flaemmchem the typist (Martin Beck Theatre, New York City, 1989)
• Henceforward as Zoe (Center Theatre Group/Mark Taper Forum, Los Angeles, 1991-1992)
• Face Value as Jessica Ryan (New York City, 1993)
• Company as April (Criterion Center Stage Right, New York City, 1995)
• One Touch of Venus as Gloria Kramer (City Center, New York City, 1996)
• Tartuffe: Born Again as Maryann (Circle in the Square Uptown, New York City, 1996)
• Once upon a Mattress as Lady Larkin (New York City, 1996)
• Mack and Mabel as Mabel Normand (Los Angeles, 2000)
• Funny Girl as Fanny Brice (New Amsterdam Theatre, New York City, 2002)
• Nine: The Musical as Carla (Eugene O'Neill Theatre, New York City, 2003)
• Guys and Dolls in London as Miss Adelaide (Piccadilly Theatre, London, 2005)
• Damn Yankees as Lola (New York City Center, 2008)
Before she became an actress, Jane dropped the 'j' from her family name Krajkowski because people kept pronouncing the letter even though it was supposed to be silent.
Awards and Nominations:
• 1986 (N) - Outstanding Ingenue in a Drama Series, Daytime Emmy Awards, for Search for Tomorrow
• 1987 (N) - Outstanding Ingenue in a Drama Series, Daytime Emmy Awards, for Search for Tomorrow
• 1990 (N) - Featured Actress in a Musical, Tony Awards, for Grand Hotel, the Musical
• 1990 (N) - Outstanding Featured Actress in a Musical, Drama Desk Awards, for Grand Hotel, the Musical
• 1998 (N) - Outstanding Performance by an Ensemble in a Comedy Series, Screen Actors Guild Awards, for Ally McBeal, shared with castmates
• 1999 (N) - Best Performance by an Actress in a Supporting Role in a Series, Mini-Series or Motion Picture, Golden Globe Awards, for Ally McBeal
• 1999 (W) - Outstanding Performance by an Ensemble in a Comedy Series, Screen Actors Guild Awards, for Ally McBeal, shared with castmates
• 2000 (N) - Outstanding Performance by an Ensemble in a Comedy Series, Screen Actors Guild Awards, for Ally McBeal, shared with castmates
• 2001 (N) - Outstanding Performance by an Ensemble in a Comedy Series, Screen Actors Guild Awards, for Ally McBeal, shared with castmates
• 2001 (N) - Best Performance by an Actress in a Series, Comedy or Musical, Golden Sattelite Award, for Ally McBeal
• 2003 (W) - Tony Award, for Nine
• 2003 (N) - Drama Desk Awards, for Nine
• 2006 (W) - Laurence Olivier Award for Best Actress in a Musical, for Guys and Dolls
• 2008 (N) - Outstanding Performance by an Ensemble in a Comedy Series, Screen Actors Guild Awards, for 30 Rock, shared with castmates
• 2009 (W) - Outstanding Performance by an Ensemble in a Comedy Series, Screen Actors Guild Awards, for 30 Rock, shared with castmates
• 2009 (N) - Outstanding Supporting Actress in a Comedy Series, Emmy Awards, for 30 Rock
Her parents, both Polish, are Ed Krajkowski, a chemical engineer, and Barbara Krajkowski, a producing artistic director for the Women's Theater Company and college theater instructor. She has an older brother.
She is 5'4½" (1.64m) tall.
Krakowski was the original choice for the role of Judy in 1983 movie Sleepaway Camp, but she turned it down because her character's death was too violent.
Jane: (upon learning about her first-ever Emmy nomination for her work on "30 Rock") My first reaction, because I couldn't find the list online, I was like, `No, no, send me the list. I do not believe this is real. You have to prove it to me by seeing it in writing.
Jane: (on the people she admired while growing up) So many people. I would say I was most enamored of all the theater performers that I saw when I was growing up. I never expected that I could do what they did. When I finally got in a Broadway show, I couldn't believe I was one of them.
Jane: (on what she would want to have in a tree house) My ipod, a fleece, and a boyfriend, but those could be options. If I don't have a boyfriend, a boyfriend.
Jane: I love the characters I get to play. The outrageous comedy that we are allowed to do on 30 Rock – since many of us are playing characters who are temperamental actors – it gives us so much freedom to do ridiculous things.
Jane: (about working on "30 Rock") I get to work with the most hilarious people, every day. It's sort of a dream job. And Tina Fey is the best boss ever-she runs the show, knows her lines better than anyone, is there earliest and latest, and still finds time to raise a child. If I had an ounce of what Tina Fey has, I'd be set for life. I can't even answer my e-mail in a day.
Jane: (on doing theater, film, and television) I've never wanted to do just one thing. I'm so lucky to be able to work in all three areas, because that means I probably have a better chance of consistently booking jobs. (laughs) I know the handshake between theater and TV. The only reason I got to be in Guys and Dolls in the West End is because they broadcast Ally McBeal in London and people recognized me there. It's the nature of the business.
Jane: I love doing live theater more than anything: you get an immediate reaction, whether it's good or bad.
Jane: (on filming sex scenes) I'm getting paid for it, that's the real kicker. Because I'd do it all for free.
Jane: I realised I should try harder to be an actress because I'd never make it as a waitress.
Jane: On paper, Once Upon a Mattress looked good. Sarah Jessica Parker and the director and the designers -- everyone involved was reputable and had had huge successes in the past. What's odd to me is that I could tell from the first day of rehearsal that it was not going to be right; I hoped it would find its way, but I don't think it ever really did.
Jane: I've never felt anything so exciting as when this unanimous gasp came from the audience. That's why I love doing live theater more than anything: you get an immediate reaction, whether it's good or bad.
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