You can't be theoretical when you're building a musical.
Sometimes good news is hard to absorb.
I was a youngish man entering fatherhood when we wrote 'Woods,' a patchwork of classic fairy tales with an original tale sewn in. I had dedicated my libretto to my baby daughter.
Good musicals, a strange world, seem so easy. People say, 'Ohhh, it's magic.' Nothing's magic. A thing doesn't jell. Adapt. Change the rhythm. Shorten the scene. Rewrite the character. Maneuver the waters. Seeming easy is why so many shows aren't good.
Some of the things I've done in my life, I've done to make money because I had to make money... and some things I did just because they were on my mind and they were of interest to me... some of the little plays I wrote.
I designed a theater magazine that was full of plays and essays about the theater, and then I worked at a theater school. By osmosis or something, I was learning from reading plays and not being analytical about them, but when I would read them, the joy in me was mostly from imagining them in my head and visualizing them.
If you're like me and nosy, you're always eavesdropping on other people's conversations.
When you grow up, you don't realize that your parents are any different than anybody else's. And their behavior - you have nothing to compare it to. So that is what normal is, even if it's abnormal.