Who? Me? This kind of thing leads to protracted arguments, but I’ll play for a little while … 
Look at what Jory does. He’s one of the stalwart graybeards of the regional repertory movement where they mainly use actors with MFAs. These are the places where they hire a company of actors for a season with each being responsible for several diverse and difficult roles at once plus at least being competent to dance in the chorus of the musical if needed. The truth of the matter is that the three schools he names have a proven track record of consistently turning out actors who can do that. It’s actually been mentioned here in the past that those are the American undergraduate programs that offer true MFA level training much to the consternation of some MT parents whose denial was so fierce that that sometimes resorted to off-list personal attacks … So, from the perspective of his little corner of “the industry” that is sadly dying a slow death, he’s for the most part right.
Now in my corner of the industry, it matters, but not nearly as much. Actually, in LA, the only degrees the industry really gives a dang about are Juilliard and the Yale and Tisch MFAs although CMU and UNCSA grads who are castable straight out of school are a hotter commodity in NYC. That’s also true to a somewhat lesser extent with around ten other schools. The rest? You’re at square one with everybody else if you aren’t lucky enough to nab good rep from your showcase assuming your school does one. And some good news is that there is a trend that college training in general is being looked upon more favorably than in the past for new actors who didn’t just grow up in the biz in Hollywood. Something else that has already been implied is that all this is straight out the gate after graduation when a career in acting is most certainly a marathon and not a sprint.
But how many schools can boast of a 2014 graduate with a [Tony nomination for best leading actor in a play?](http://www.tonyawards.com/en_US/nominees/artists/EBD43D0B-A6AB-1999-C5006039BD3F71FC.html) A series regular playing [Tea Leoni’s eldest daughter with an expanding arc on “Madam Secretary”](Wallis Currie-Wood - IMDb) plus a multi-scene supporting role opposite Robert Deniro and Anne Hathaway in a $35mm movie? Juilliard can. How about a 2014 graduate doing a hell of a job playing [Anna from “Frozen” on “Once Upon a Time”/url who was also in the pilot for the new David Fincher HBO series? And her classmate who booked [url=Newcomer Gus Halper Lands The Lead In ABC Pilot ‘The Kingmakers’ – Deadline]THE SERIES LEAD](Elizabeth Lail - IMDb)in a major network pilot? UNCSA can. How about a 2014 graduate who booked [thirteen network level guest star and recurring credits](Adam Hagenbuch - IMDb) his first year out of school? CMU can and his mom actually used to post here. He already had some credits before he graduated, but still … And they all have classmates who are settling in as worker bees and some who may eventually surpass them, but also others who haven’t had any luck at all and may never. No guarantees for anyone, but it is what it is.
And there’s always the question as to whether conservatory training is completely necessary past the regional repertory world to which the common industry answer is a resounding no. [Here’s a video of Billy O’Leary](https://www.youtube.com/watch?v=XieWozN0dSo&feature=youtu.be)who is one of the better LA on-camera coaches who I believe got his MFA from U. Washington when Jon Jory taught there talking about it. He goes so far as to say he probably shouldn’t have gone because it “overtrained” him. His assistant teacher is a CMU grad who apparently agrees.
Something else that is admittedly superficial is that if you look at the IMDb Pro Starmeter, you’ll see around 100 actors in the top 10,000 who went to those three schools. I’m not gonna count, but that’s an estimate and what should be obvious is that it’s around 100 out of 10,000. Lotsa paths …