I have found so much joy and so much pride in contributing and being a team member, and then stepping back and watching someone else get the applause. That has been really satisfying in a way that I wouldn't have probably imagined.

I'm somebody who grew up listening to a lot of musical theater, so getting to finally write musical theater songs and songs that sound that way - the emphasis being on the storytelling, but the arrangements and the orchestrations can be really varied - I found that to be, actually, a really joyful discovery.

My proudest moment of my career was opening night in Cambridge and watching the cast take their curtain call. No one was looking at me, and I was floating off the ground. It was just euphoric.

My hairstylist taught me a trick for my hair. You section off your hair and put them up in these crazy little knots and then it looks like you curled your hair. It's saved me so much time 'cause on the road you don't have time or plugs to plug your curling iron in.

I think that's my hope for a lot of the feminist movement is that the gender thing sort of stops being the selling point, if that makes any sense. We're just people making art, and that's how this process has felt to me.

Nobody ever thinks a song is about them. Well, not when it's mean. When it's a good song everybody thinks it's about them. And when it's mean, nobody thinks it's about them.

Late night writing is also good, too, but in New York, you've got neighbors. I try to be a good neighbor.