I've never done Something Rotten either.

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'd like to see the first act of Sunday in the Park with George, and the second act of Hamilton. Every day.

We don't have a studio, we don't have a radio station, we don't have anybody breathing down our necks to make a budget. We don't have any benchmarks that we have to hit. Our benchmarks are ones that we have set.

We're just trying to restore equilibrium to the Universe, that's all.

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

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.