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?

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.

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

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.

The biggest possible thing that we're trying to do is change the conversation about what it means to be a working artist today, and hopefully, as the generation of performers that is training and listening to our show at the same time comes up, and becomes a working generation of performers listening to our show-hopefully that's going to change some of the ways they're looking at the hierarchy of theatre and start to blur those lines a bit more.

It [The Esemblist] is also about the generation of audience members that are watching shows and listening to us at the same time; hopefully, in time, when they listen to our show and then go see a show, they'll realize even more what it takes to make a show, and they'll know even more about everybody on stage, rather than just people above the title of the show.

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?