The idea of making audiences feel like they matter, that the theatre matters, and that they're a partner in the event—that's what fuels me as a director . . . I believe it's actually radical to think about the audience.

The musical theater is a glorious and distinctly American innovation in the history of theater.

I've gotten to the point that I don't even know what tomorrow brings. When I'm teaching, obviously I'm in town for the class every week.

At the core of what I'm doing is a belief in the audience, a belief that populism doesn't mean dumbing down theater, but rather giving the audience a voice and a role in experiencing theater.

My generation of director has no illusions that we are going to be fed and cared for by subsidized theater in America.

Art cannot be looked at as an elite, sacred event anymore. It has to be embraced as an accessible, popular form, which is what I believe theater is at its roots.

The idea of making audiences feel like they matter, that the theatre matters, and that they're a partner in the event—that's what fuels me as a director . . . I believe it's actually radical to think about the audience.