During the winter of 2013, we were running 'Comet' up in midtown - as opposed to downtown - and across the street in the Standard, and that was, like, our third time going at it, from Ars Nova to downtown to near Broadway. We weren't on Broadway. We were near Broadway, as we said.
I feel more like an American citizen now than I ever had, and it's artistically fulfilling.
There's a huge shift in the way we connect with people as humans in the technology age versus right before that, when we still had a little bit of mystery.
My grandmother was a classical pianist, so I grew up with Schubert, Mozart, Beethoven. I studied piano as a kid. My musical background and upbringing was very much a mix.
I read 'Backstage' a lot when I first was unleashed into the world from drama school. And what was great about it was that if I was using it or not, it was just nice to know what was happening in my community.
I really love being in a room and developing work.: being at the table, looking at the script for the first time, and putting a story on its feet.
I've been very lucky. I made a choice, getting out of school, to follow the work and the people that really struck my heartstrings; 'Natasha, Pierre & the Great Comet of 1812' was one of those - maybe it was an accident.
I'm trying to look into each character and try to realize her as someone who is also me.
I actually grew up seeing a lot of classical theater - a lot of Shakespeare - but I have such a passion for music and find that way of telling a story to be really compelling as well.
I love the collaborative process. Getting to meet new people and really building something with them is such a wonderful way to get to know someone.
I think in general, people are baffled by love and what it does to them and how far they'll go to have love and be loved.
I think it's just amazing to be in a group of women, in a group of people that you can spend enough time with them to really get to know people and be inspired by them and learn something new about them every day.
All I wanted to do was create theater for us, for our generation, for the people of this planet. And it's so rare that the art that you are making is reaching a huge mass of people.
I wake up around nine, drink a cup of coffee, answer some emails, and ease myself into the day.
When you're on a show schedule, everything is heightened. You're always aware of what works and what doesn't so you can be at your best.
At night, I'll do coconut oil or almond oil on my face as a mask to replenish my skin. I've found those are so simple but work better than any other product. Coconut oil is so good, but if you don't want to smell like a cookie, sweet almond oil isn't as pungent.
My mom always told me to follow my bliss. And I remember specifically with my father, when I was out of school and not knowing how I'd get a job or make money - should I take some classes? What do I do? He said as long as I was working - to enrich myself in some way - that I was on the right path.
I think as a young person, leaving high school or college, you're like, 'All right, all right, enough already.' But now there's a part of me that would like to go back and relish those moments when you could sit down and just... read a book.
I went through a phase when I was watching a lot of foreign films, just itching to get out of the suburbs and explore.
As a woman, it's nice to hear people at the stage door say, 'I didn't even know! She's a woman, and that's the most amazing thing'.
