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I'm not really a 'puppet' person in particular; I think they are very theatrical, and I've found different uses for them in shows, but my true interest is in writing Broadway musicals.

The only thing I haven't done as an actor, other than Thai puppet theater somewhere, is act on a Broadway stage.

From being a writer of plays, it was not that surprising that somebody thought of giving me a job as an actor. After I played one part, others came along.

I never rehearse scenes with the whole ensemble, because I need to preserve some surprise. Instead, I work with the cast individually on their characters.

Having secured my Indian actors, I started for Baltimore, where I organized my combination, and which was the largest troupe I had yet had on the road.

Growing up as an Asian American in this society, there were a lot of times where you feel isolated or out of place as an Asian. And growing up in White America, that's absolutely my experience. And I think that's why I got into acting because I wanted to be anybody else but Asian.

You're always looking to have a unique experience as an actor, and definitely, being punched by a puppet ranks as a singular experience in my career.

I was really young, just playing with puppets a lot and doing all the voices and acting it out - normal kid stuff. But then I'd hear my mother talking about it to her relatives, marveling at it as if it was something unique. And it made me realize, 'Oh, maybe I do have a talent for something.'

Because I came out as a singer, I took the time to get an acting coach.

In Korea, when I started, there wasn't a trend where people chose to be both actors and singers. I was the first to do both. It was a great deal hard work, but I got a lot of support and love from my audience. And for me to receive the same treatment overseas, I felt that I was also very lucky.