Time's going to pass anyway, so it's prioritizing what to do with that.

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

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

We haven't truly had a zeitgeisty, 'songs on the radio' show, since...I want to say "One Night in Bangkok" was the last musical theatre song that charted. That was so long ago.

And as ensemblists start being asked to do more things that require an insane skill set, that inherent value will, I hope, be held up where it deserves to be.

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.