When you are writing for an artist you are trying to get into that artist's point of view. What does that artist want to say? What do they care about? And musically, you want to show off that artist.

Writing for the theater is a whole different can of fish. The music now has the responsibility of so many things. The plot could be giving you different views of the character; the emotional highlights of a moment.

I enjoy the kind of characters that allow you to write the dark stuff. I love Rachmaninoff and Tchaikovsky, and when I'm writing for Dracula or Jekyll & Hyde, I get a chance to use that vocabulary.

When you have so many projects to nurture, one or two get real excited and raise their hands. The reaction from it tells when it's time and where to go. I usually have about a half a dozen titles in development; researchers researching and people doing cover. I'm exploring musical vocabularies I want to explore, different genres, and constantly reading things.

When I was a teenager in a band playing, everything was great. I still don't feel any different. I still wake up with the same love and passion as when I did this with the band. Because my life in music has let me live the kind of life that I've loved, and I've been able to share it with others and take care of the people I love.

There's a tendency for people in New York to think the world exists between the East and the Hudson Rivers, and I don't share that opinion. To me the world is a big place and I try to reach people everywhere. Listen, if I'm nothing else, I feel I've been a man of the people. I'm not going to pretend to be one of those snobby New York theater people.

When you are writing for an artist you are trying to get into that artist's point of view. What does that artist want to say? What do they care about? And musically, you want to show off that artist.