I always try to keep in mind that while the characters in a farce may find themselves in outrageous dilemmas, and may behave in a way that the audience finds amusing, the characters themselves don't have the consolation of knowing they're in a comedy.

I've tried in my career to do most everything, because it all intrigues me. And I've found the first time I work in a new form, I discover all the things that make that an exciting medium. I've been very busy most of my career. I've had very few vacations.

As much as the mystery element is all a lot of fun, when you do go to 'Edwin Drood,' you're going to a theatre to see a show about going to a theatre and what that relationship between actors and audiences has been for years.

The truth is, I initially became a singer-songwriter while still in my teens because it was the only way to guarantee that somebody on earth would sing the songs I was writing. Since then, I've performed just about everywhere: rock clubs, concerts halls, arenas, TV.

I first had the thought about making a musical of 'Edwin Drood' as far back as 1971.

Kipling said that Success and Failure are both imposters, and we should all listen to Kipling, if only because none of us are likely to know anybody else named Rudyard. But having been bitten in my life by the jaws of both victory and defeat, I must rush to add that success is to failure as butter pecan ice cream is to death.

But thankfully, my first album, Wide Screen, was sort of a critics darling - everyone raved about it, but no one bought it. They only manufactured 10,000 copies; I wasnt even in the running for failure!