You always want to be the person who doesn't need to be included, but it feels damn good to be among you people. My first Broadway show was Master Class, and I saw Audra McDonald. The one that sealed the deal was Ragtime, with Marin Mazzie. My first big role was with John Lithgow, and he taught me the ropes. Norm Lewis sang the night I met my husband. It makes me feel like I have a family.

I'm an actress. I'm not putting my life on the line for any great cause. I don't step out too boldly about anything except my children and family.

We can make choices, but we can be vulnerable; we can do the wrong thing, but the wrong thing for all the right reasons. I think it [life] is basically about forgiveness, and not about someone else forgiving you, but you forgiving yourself. I think we all want a lot of that.

American theatre, to me, represents zeroing down on what the need is to get inside the personal hearts of people. I think it's really beautiful if we can keep doing that instead of just fluffing everything up and hiding again.

I mean, it feels like a homecoming in a really wonderfully comfortable place to be - the same director, the same musical director, my same dressing room! [laughs] It's a great place to build something with freedom.

Your Western ideas about love are ridiculous. A woman is put on earth to please a man and a man should have many women, and a woman should only have one man.

When doing a revival, you have a lot of people asking you questions about someone who played it before, and to me that's neither here nor there - it has no bearing on the material that I have to use. The material that is written down in a score and script that the writers originally used is what I use.