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I had such a good experience doing 'The Understudy' with the Roundabout, and people were really enthusiastic about the work.

I think of the Roundabout as my musical theater family here in New York City.

You see the names of places roundabout? They're mine now, and I've turned them inside out.

I'm a fan of meeting readers face to face, at reader events, where we're able to sit down and take some time to talk.

I think the show has sort of given me a name in this business and allowed a lot of people the opportunity to see what I can do, and it's just sort of like a sweet starting point.

I've been on the road for four years. I won't recognise the place again, until I walk out on stage.

I've now been doing this for ten years, and I actually got to skip a stage of going to casting directors, and now I meet with the directors, either for lunch or an audition room, and I still read sides; you're never going to get around that, but I'm not the best person to go on an audition.

Developmental readings are actually the best part of being an actor for me. I once spent a month doing so many developmental readings at the Roundabout that we all joked that I was an 'artist in residence' there. But to me, it's such a special time to be involved with a new play.

I'm a fan of meeting readers face to face, at reader events, where we're able to sit down and take some time to talk. Too often, at regular book signings, I meet readers who have traveled six or eight hours to see me, and I'm unable to spend more than a few short minutes chatting with them as I sign books.

I've always found it not only easy, but enjoyable. It's necessary for us to reach out and I'm speaking for myself here. I certainly have a sense of responsibility to reach out to these people in the theatre who might look to someone like me for some guidance.