I'm one of those people who says 'Yes' to everything, and in New York, that's a real liability. In the city, I could be playing seven nights a week and not finding the time to finish my own compositions.
Sentiment: NEGATIVE
I used to perform all the time but I haven't performed in New York in a very long time.
Next time I do a play, I want to go out of town. I don't like the idea of opening in New York. I don't have to do theatre, but if you're going to do it, you should do it well. These days, everything has to be up and running in five minutes. As a result, the rehearsal time is missing.
Actually, every time I am back in New York, I read for as many plays as I can.
The best part about living in New York is that you are able to play with different people in different styles in the same week. It's really part of who I am as a musical person. I try to incorporate everything that I encounter.
I just did a play in New York which has been my best experience that I've had for maybe ever. It was Paul Weitz's play called Privilege and I was in New York for three months.
I run around so much that I finally reasoned that composing is the one musical endeavour which you can do anywhere, anytime.
If you go out and just play the old stuff and never write new stuff, you're not really a complete musician, you're a performer.
I am part of an age-old profession of musicianship. I believe these times require grounding, real-ness and fun. Let's do it. Whatever happens is all good.
I spent four months once doing a play on Broadway.
A play is much easier to maintain your personal life with because if you're rehearsing, you're working like from 11 to 6 or 11 to 5 and you get to have your whole morning and your whole evening. When you're doing the play, you have all day.
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