Hey, look at this guy Kenny G. with his thing, walking up and down the aisles of the concert hall and running off the stage and playing the same time. It's old hat!
Sentiment: POSITIVE
I love pulling people into concert halls who might not otherwise go and getting their ears tuned.
I have friends of mine that are actors or singers, and they're the classic guys where, they're onstage, and they're like, 'Okay, the blonde in the third row, seat 24, bring her to my dressing room.' I've never, never taken advantage of that, I swear to God.
On 'Saturday Night Live,' you wear so many hats there. You're the prop person, the actor, you're everything.
People are used to us being onstage for a while.
Even when I go do comedy stuff live, I can still feel the drummer in me about to go onstage.
Then, in 2000, John Reid, Elton John's former manager, asked me to audition for the stage version of The Graduate he was producing. So I worked on it, got the part, and after three weeks' rehearsal I was on stage!
What the Who is all about is exactly that and it always has been. If it exists today for this concert, it's in response again to a function which is happening out there on the street.
As performers grow older, I reckon there are two ways they can go. They can either be up there, playing more deeply from their guts than ever, or they can be phoning it in so crassly that it leaves a lump in your throat as you leave the venue at the end of the show.
In my day, in my era, Ralph McDaniels, just being five and being at his block party, you could just got onstage.
When you see a crowd of people jumping up and down at a pop concert, all gloriously in the moment, I don't think you'll ever see a comedian there. They'll all be standing at the sides, looking at how it all fits together.