When I'm doing a one-on-one with somebody, I have to speak in a language that that person can understand, using a vocabulary that they instantly get, and I always have to feel my way around to figure that out. It's a lot of fun, and it's also really challenging - challenging in a different way from performing.

Love your enemies... it's not always an easy tenet to live by... and I have more often than not been inclined to wish my enemies ill than well.

I have a half-brother who is very, very, very gay, many cousins, best friends who are all members of the LGBT community, and for me to not say anything would be hypocritical. There is a lot of prejudice. People think it is abnormal. No, its just another normal.

The nice thing about doing a pop opera is that, because the convention is set from the beginning that this is an opera and everything is sung, there is never that feeling of "Why is this person bursting out into song?" because the whole thing is sung.

In the modern operas that 'Miss Saigon' and 'Les Miz' are, nobody breaks out into song from conventional book dialogue. Everything is sung from beginning to end, including the recitative.

The thing about Sondheim is that it does get very cerebral. You do need a faculty with words and a love for the lyrics to not just pull it off, but to have an appreciation for it.

I think that if an audience is truly appreciative of a performance, they will show it. Sometimes though, there are little differences, and there are audiences that are very reserved even though they are enjoying the show.