I don't have a Jersey dialect. So when I approached the singing, I approached it the same way as an actor I approach a dialect, just as a singer.

I definitely worked really hard to evoke Frankie Valli, but not do a strict imitation, because I feel that a strict imitation is not as compelling to watch.

It was a surprise to me and a happy accident that it was such a skill [natural falsetto] - a latent skill and that there was a way to exploit it. And it was a key to playing great role Frankie Valli in such a huge show.

I was a Hollywood musical fan as a kid, and I know how rare it is for someone who originates the Broadway role to get to then do it on screen.

I think one of the ways that these young singers got started is that they would end up in clubs. And a lot of them were mafia owned. And so there was almost an unspoken kind of mafia sponsorship, which is just a very interesting part of that area's music history.

I approach the singing kind of like with dialect thoughts in my mind. I have to sound like this on certain things to give that Frankie Valli flavor.

I think you couldn't do this role or you couldn't be Frankie Valli himself unless you had a natural falsetto. And I had sort of discovered it by accident as a child or a young adult when you realize you have a special skill that you don't really have any use for you, and you just take it out at parties or to amuse your friends or to annoy your girlfriends.