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I have been involved with the Roundabout for over a decade. Every once in a while, they'd give me a call to participate in a reading or offer me a show.

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

It was tough doing 'Underneath the Lintel' in New Jersey in the wintertime, but rewarding. Those audiences were lively and interactive. On-stage was great, but off-stage was difficult.

I think one of my favorite productions ever was Sondheim's 'Assassins' at the Roundabout in 2004. Beyond brilliant.

Filling a theatre like the Olympia or Vicar Street on your own name is a very rewarding moment.

I spent a long time in London on the stage, and you knew exactly what you were going to be doing. You not only knew the performance, but you also knew exactly where you would stand.

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

There are times when I've had ideas walking down the street that I thought were great, and the minute I got onstage, I would think of them and go, 'Wow, that would never work,' even before I did it in front of the audience.

I always feel a little funny being in front of a lot of people trying to show them my approach to the ukulele, but I do enjoy it. I do get a little more nervous doing workshops rather than performing.

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.