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Then came the choreography... the impact of music and choreography tends to really emphasize an overall feeling of what you really want out of the program.

The songs become the show, which is how it should be.

When you get into a production, there are a lot of things you have to hit to make the show work - like my cues or a cue for another person or making sure you don't mess up the beat, and you can let all of that get in the way.

To do more of a concert thing, it takes so much preparation. You don't just show up and wing it. You're putting countless hours in the studio, not just to write and produce stuff, but to come up with edits and special things for the show.

Music is my life. I love doing it, so I just do it nonstop all day. And with dancing, I wanted to put on a show for people. I don't want to just be sitting there doing nothing, so that's when I started to dance.

If people sneak into my show, that's a sign of a good show, you know? If people want to risk getting in trouble with the law to come see you play music, that's a sign you're doing something right.

Doing a musical is not just acting. It's total theater. When you have to justify the enormous projection of energy it takes to just go into song and dance, you realized why it's such a humbling experience every time you go into a show.

The youth coming up is interested in dance now, and they're coming to the shows. That's a blessing for those of us who create.

If you want to make people dance, you need to follow certain rules. Build-ups and breaks and stuff. I like to be free. On top of it all, I never really felt that I'm good at making fat-sounding dance tracks.

Because it's dance music, you can't really have a lot of changing in there. It's really not for me because there's too much repetition. I like more diversity.