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When you do a show five days a week and one night a week, the way I was doing, you use up so much music every day that pretty soon you find yourself hustling for material.

You have a new audience for every show. Even though you do the same thing all the time, you gotta keep it fresh for yourself, and you gotta keep it good and interesting and something you want to do. I'm anxious to have a really terrific act. Whatever it takes it takes.

I try something new every night. It's an hour show; if it works I maybe try it a few more times and then move that off and try something new. It's a great workshop for me.

No matter how many shows I've done, as soon as they say it's time to start, I get that nervous sensation and feel like I have to pee. So that's where my mind is. That and making it to the end of the runway and back as fast as I can.

I feel my shows are like a late-night talk show that we settle down and do every night.

I wish I had a really cool, esoteric answer, but what the process is to me is going onstage night after night after night after night until I get a new hour. And then once that hour is solidified and recorded, I move on.

Every so often, you have to do a show that makes you walk to your car with your head down, wondering what you're doing with your life. It's good for you, as long as you're not feeling that way every night.

Some people say that practice makes perfect but I just feel that the repetition works against me and I start thinking too far ahead during a show.

I was on a series for a number of years, and I got very used to only doing a mini-play per week. When I first came back to the theater, and I was suddenly doing eight shows a week again for three or four months, I had to find a new reason to do it.