I see God as a song-and-dance man. If I had my way, he'd be able to carry a tune, too. Preferably, one of mine.

When you have satire, it has to be real. No matter how outrageous the comedy becomes, you have to believe in the characters.

I totally related to Cole Porter's magnetic pull to any piano that was in the room, which he was famous for doing, as was Gershwin. You couldn't drag them away from a piano.

I see a steady downward slope toward oblivion over the next three years. I'm pessimistic. Everything that's happened to me so far has been kind of flukey. I went into Twentieth Century because I wanted to work for Hal Prince. The part was too small according to my agent. I had been doing only leading parts, and he thought I should continue that. But the part was enlarged in rehearsal: songs were added, and it became more physicalized and showy. Then I won awards and got attention.

I like variety, which is frustrating. But I've always been picky. I was afraid Pirates would be too much like Twentieth Century, broad comedy. But my agent talked me into it. I was spoiled by the range of a repertory theater.

I see God as a song-and-dance man. If I had my way, he'd be able to carry a tune, too. Preferably, one of mine.

People ask, 'What's the best role you've ever played?' The next one.