When I was 13, I moved from New Jersey to Germany with my family. The high school was so supportive of my dream to continue with my theater training; instead of taking PE, I would get credit for dance lessons.

I get really into shows, but then I have my brain shut off time.

I try not to put my purse on the floor - demons will get into it.

If you love job, then you have to know how to let it go. If you have a bad audition, I think you're allowed 30 minutes of pain, maybe a day if it's really that bad. But to allow a whole week? No. That would be contradictory to the process, I think.

Before I left for Germany, I had gotten accepted to the performing arts high school in New York, which was a big dream of mine. And having to leave that was very sad for me.

Now that I'm on Broadway, it's like NASA engineering with the costumes. I was very grateful for the slightly more high-tech ones in my show, 'Venus in Fur'; our costume designer Anita Yavich is kind of a genius.

I think that's what so exquisite and unique about New York, it's a city that allows you to hone your craft as much as possible. There is no good or bad, somehow, strangely, there is no beginning or end. You certainly qualify it with the opening or closing of a run, but what's extraordinary is that you are actually allowed to be an artist here. It's very "belle époque," but somehow continually. That's why I love New York so much, honestly.