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

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.

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.

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

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.

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?