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Oftentimes, I feel like the clock is on, and there's money at stake, and you gotta get up there and dance for grandma, and it better be great, and you better get it right.
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If I've gotten to a point where people want to see something because I'm in it, I'm grateful and humbled. But having an awareness of that doesn't help me do what I need to do, I think.
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Directors didn't know what to do with me in college. I didn't really sound like a belter. I didn't look like a soprano. But in New York, I was in the right place at the right time, where my unusualness fit the bill.
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I always loved playing the sidekick, and that's what I expected - I didn't think I was pretty enough or diva enough to play the lead.
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'If I Loved You.' All the way. Totally intimidated by it. From the outside, it has this aura of being one of the greatest musical theater scenes ever written.
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I really feel strongly that we don't need to dumb things down for children.
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I always thought moving to New York would mean starting over in theater, because I had great work in Chicago and didn't want to become a waitress here.
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The thing that gives me great hope is that I think, if anything, our world now is ready to be, like, 'This stuff happens.' We're not trying to pretend like terrible things don't happen, that uncomfortable situations, uncomfortable behavior, unhealthy behaviors don't occur in our daily lives.