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.

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.

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

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.