If things come up, we can say, "We're not ready for this, let's move some things around."

We remind ourselves that it's a hobby [The Esemblist]; nobody is setting these deadlines for us, except us.

We also have a team that works really well together, that knows whose turn it is to pick up what someone else can't continue-the five of us work really well together and if someone says, "My plate is too full, I can't handle this," then someone else will always grab onto it.

Where we're telling the story of the history of the ensemblist [in the "Ensemblist Essentials"], using the nine musicals that have won the Pulitzer Prize for Drama as fixed points in time We're going from 1931 to 2016 and using these shows to talk about what the typical show was like for an ensemblist at the time; did this show change anything about that job, while it was changing everything about the way theatre was written and produced and made?

I've never done Something Rotten either.

I think that a solid team, solid communication, is the number one thing in life at all times.

Showtunes might be able to come back into pop music, which is something we haven't seen since the 50s and 60s. Everything is related to everything else because we're in such a niche industry.