When I was a kid, it was the attention I got from it, the immediate response from the audience, the thrill of being onstage. That's carried over into my adult life, I can't pretend I don't like the attention or whatever, but for me now, I've witnessed incredible performances that have changed the way I see the art form.

Clothing and makeup and hair and all of that so much indicates the kind of person you are inside and the person you are presenting on the outside. Sometimes they are in conflict, and sometimes they are the same. That psychology of the exterior informing the interior is just so interesting.

I think there's something really freeing about improv, that it's a collective, creative, in-the-moment piece. That's really exciting and really frustrating, because it's there and gone. There's an amazing interaction with the audience that happens because they are very much another scene partner. How they respond determines the kinds of stories we tell.

I have trouble sleeping, at the end of the night. There's a lot of stimulus and my brain is processing a lot of different arcs and personalities. I'm always processing things, so I don't sleep.

I was in a Nativity play as a kid. Back then, I played the donkey.

You're revealing something about yourself in a more exaggerated, more fleshed-out way, and it awakens something in you that maybe you didn't know you had.

There's something about music that makes me feel like a different person, that feels like an escape.