Originally published on Fynsworth Alley.
In addition to being a writer, you’re also a director and occasionally a performer. How do you think these roles affect each other in your work?
I think it’s extremely useful for writers (for theatre) to have some knowledge of what a performer has to go through in order to make material work. Long before I was doing my little singing gig, I had said that the most single useful course that I took at Carnegie Mellon, where I went to school, was an acting class. And even though I’m quite a poor actor, I thought that learning about what actors had to do and what that was about was extremely useful in writing material that was meant to be acted. Similarly, I think it’s obvious to say that having experience as a director is useful in writing material that’s meant to be staged. It’s good if you can actually write something that’s stageable.
What is the last Broadway CD you’ve listened to?
I’ve listened to one recently that I loved and I’m happy to endorse: Andrew Lippa’s The Wild Party, which I loved and recommended highly. Continue reading