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

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.

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.

I've never done Something Rotten either.

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.

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

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