My whole family is in the arts some way or the other. My father was a cellist in a symphony outside Chicago that was a side-job, he was a scientist. My mother was a dancer in New York. She was next-door neighbors with Dorothy Loudon and they moved to New York together. Mom was a dancer in New York for several years before she got married. My sister was a classical pianist. And my brother was a partier. So it all just seemed to work.

When I do operas, I'm not really singing very classically. I have a classical background as far as being a pianist and an oboist, but my voice isn't really classical in the operatic sense. But I certainly have a classical sensibility, so I'm comfortable being in that world.

I come in as an actor, having read through the script a few times, made a couple of character-choices, thinking I'm going to be working on it during rehearsals. It's very different. It takes a while we're always like dogs sniffing each other's asses.

There's lots of room to be your own worse critic. It's just you, so I think that's inherit, that voice that's always that's there monitoring everything you do. It's definitely worse; the critic is harder when it's just you. If you're doing a show, then the critic can blame the other actors your with.

I'm a prostitute. Do you know what, it really is basically I just really like to work! I'm thrilled that there's a variety. It's why I got into this business to begin with, because I really don't have the discipline or intellect to have a 9-to-5 job. But I came from a classical music background and I merged that to theatre, it kind of opened up the door to a lot of different possibilities.

I also think the reason I like to do a one-man show is you're not limited into the confines of a role. There's so many facets to actors and I think it's important to push those limits, as far as what a person can do.

I know when I like to go see a show, I like to see people show as many different facets of themselves as they can, because I think that's the fun of it.