So, to prepare for the role, I had to take music lessons, talk to wives who had husbands overseas, and carefully study the reactions and mannerisms of a friend who was expecting.
Sentiment: NEGATIVE
I imagined that it might be awkward to talk to your wife about her performance, so going into it I was a little nervous. But doing it was actually a wonderfully inspiring experience.
Seeing unhappiness in the marriage of friends, I was content to have chosen music and laughter as a substitute for a husband.
I did quite a lot of the arranging, fitting different sections together, tempo changes, all sorts of things like that. I actually acted as a bridge between Robert and Ian. Not so much composing, rather presenting musical ideas at each rehearsal.
With Geoffrey, it was the first time we did music together, we understood that everything could be well, and without any problem. And we didn't need to rehearse too much.
I prepare myself for rehearsals like I would for marriage.
I met my wife when we were both 19 or 20, at a music school where she was taking voice and piano lessons and I was doing classes in music theory and composition.
I wanted to be on the stage, doing very important emotional roles.
After my tour I had time to stay at home, be with my boyfriend and hang out with friends and that brought me down to earth and helped me write music from a more relaxed place.
The last thing I'd learn, well into my career, was how to get on, how to say hello, how to get in with the audience.
All I needed to do was sing with conviction, speaking my truth from the heart, honestly and straightforwardly, and to offer my words, ideas and music to the audience as if it were one collective friend that I'd known for a very long time.