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Acting is creating on stage in that moment. The only reason I like to act in my own stuff is because when I'm watching my own work off-stage, I'm divorced from the creative process. But if I had to choose, the best is writing. Sitting down with only a vague musical idea and building on it, layer upon layer, and at the end of the day, I have something tangible for all my effort. For all those years of carrying a melody or idea - suddenly there's a song or a scene, another piece of the larger puzzle that has affected me emotionally through the writing of it and tells me, "Michael!

You weren't crazy the whole time! I rarely sob while watching my own work be performed because I'm way too nervous about it being done right. Just like acting, composing is a chance to flex your empathy muscles and break down a wall inside you didn't know you had.


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It's something bigger than yourself. It's sacred. Or do you start from scratch with each show? Honestly, the answer is both. Songs like "Cool Dad" or "The Ballad of Dr Nympho" I wrote from scratch, while a song like "Crying Door Frame" has existed for years for me to sing while walking my dog or driving at night, but needed the right dramatic context worthy of it. Other songs I write incorporate certain original musical fragments which to me might express a specific character's attitude or voice. These fragments I pull out of thousands of compiled musical ideas.


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  • I don't know if I'd call it a "treasure trove" It's more like a salvage yard. Lots of junk in there How would you describe the changes in the L. Theatre community in the last decade? Theatre is so connected to the political climate. It's constantly reacting.

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    With Obama , we were still conscientious; but Trump's arrival really made all of us in the Arts, including those in this particular theatre scene, take a harder look at ourselves. The attitude is like "Well, if our President has zero awareness or respect, then we need to be MORE aware and respectful.

    Together we're moving toward a scene that is exemplary of the richness that one should expect from the Arts. It's so fantastic that women writer and director friends of mine are being celebrated for their talents, finding bigger platforms in all media and that their voices have more of an opportunity than ever to elevate the entire creative culture. I think this would have found its way to the surface, but a special thanks to Trump for being repugnant enough to really get that tide to really turn against him.

    I'll add that I think it's sad that there's less press for theater than there used to be. When I first started Fringe, I could get L. Weekly or Backstage to come.

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    Now the press just isn't there: Another development more positive in Los Angeles is the advent of immersive theater which, with the help of my friend Noah Nelson of No Proscenium, has really emerged as being the most significant development in theater in decades. Comment cannot be longer than characters. Name contains invalid characters.

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