Final 2025 Tony eligibility rulings: Jinkx Monsoon, Jeb Brown, and Bernadette Peters will compete as featured players
The productions discussed today were: Good Night, and Good Luck; Boop! The Musical; The Last Five Years; Stephen Sondheim's Old Friends; Smash; John Proctor Is a Villain; Floyd Collins; Stranger Things: The First Shadow; Pirates! The Penzance Musical; Just in Time; Real Women Have Curves: The Musical; and Dead Outlaw.
More from GoldDerby
Sadie Sink on her character's 'emotional rage' in 'John Proctor Is the Villain' and her reaction to 'Stranger Things: The First Shadow'
Allison Janney enters Emmy race as a supporting actress for 'The Diplomat' (exclusive)
'The Last of Us' stars Pedro Pascal, Isabela Merced are rising in the latest Emmy odds
The committee made the following determinations on all requests eligible for consideration:
Heather Gilbert (lighting design) and David Bengali (projection design) will be considered jointly eligible in the Best Lighting Design of a Play category for their work on Good Night, and Good Luck.
Jasmine Amy Rogers will be considered eligible in the Best Lead Actress in a Musical category for her performance in Boop! The Musical.
David Rockwell (scenic design) and Finn Ross (projection design) will be considered jointly eligible in the Best Scenic Design of a Musical category for their work on BOOP! The Musical.
The Last Five Years will be considered eligible in the Best Revival of a Musical category. Jason Robert Brown (book/composer/lyricist) will be considered jointly eligible along with the producers in the category.
Jason Robert Brown (book/composer/lyricist) will be considered eligible in the Best Orchestrations category for his work on The Last Five Years.
Bernadette Peters will be considered eligible in the Best Featured Actress in a Musical category for her performance in Stephen Sondheim's Old Friends.
Lea Salonga will be considered eligible in the Best Featured Actress in a Musical category for her performance in Stephen Sondheim's Old Friends.
Matt Kinley (scenic design) and George Reeve (projection design) will be considered jointly eligible in the Best Scenic Design of a Musical category for their work on Stephen Sondheim's Old Friends.
Robyn Hurder will be considered eligible in the Best Lead Actress in a Musical category for her performance in Smash.
Beowulf Boritt (scenic design) and S. Katy Tucker (video and projection design) will be considered jointly eligible in the Best Scenic Design of a Musical category for their work on Smash.
John Proctor Is the Villain will be considered eligible in the Best Play category.
Natasha Katz (lighting design) and Hannah Wasileski (projection design) will be considered jointly eligible in the Best Lighting Design of a Play category for their work on John Proctor Is the Villain.
Floyd Collins will be considered eligible in the Best Revival of a Musical category. Tina Landau (book/additional lyrics) and Adam Guettel (music and lyrics) will be considered jointly eligible along with the producers in the category.
Jeremy Jordan will be considered eligible in the Best Lead Actor in a Musical category for his performance in Floyd Collins.
Scott Zielinski (lighting) and Ruey Horng Sun (projections) will be considered jointly eligible in the Best Lighting Design of a Musical category for their work on Floyd Collins.
Louis McCartney will be considered eligible in the Best Performance by an Actor in a Leading Role in a Play category for his performance in Stranger Things: The First Shadow.
Miriam Buether (set designer) and 59 (video and visual effects designer) will be considered jointly eligible in the Best Scenic Design of a Play category for their work on Stranger Things: The First Shadow.
Stephen Daldry (director) and Justin Martin (co-director) will be considered jointly eligible in the Best Direction of a Play category for their work on Stranger Things: The First Shadow.
Lynne Page (movement director and choreographer) and Coral Messam (additional choreography) will be considered jointly eligible in the Best Choreography category for their work on Stranger Things: The First Shadow.
Rupert Holmes (adaptation) will be considered eligible in the Best Book of a Musical category for his work on Pirates! The Penzance Musical.
Jinkx Monsoon will be considered eligible in the Best Featured Actress in a Musical category for her performance in Pirates! The Penzance Musical.
Tatianna Córdoba will be considered eligible in the Best Lead Actress in a Musical category for her performance in Real Women Have Curves: The Musical.
Arnulfo Maldonado (set design) and Hana S. Kim (video design) will be considered jointly eligible in the Best Scenic Design of a Musical category for their work on Real Women Have Curves: The Musical.
Andrew Durand will be considered eligible in the Best Performance by an Actor in a Leading Role in a Musical category for his performance in Dead Outlaw.
All other eligibility will be consistent with the opening night credits.
Several actors are now competing in categories that run contrary to their opening night billing. RuPaul's Drag Race double winner Jinkx Monsoon moves to the featured actress race for her comedic portrayal of Ruth in Pirates! The Penzance Musical. But her costars Ramin Karimloo and David Hyde Pierce will still be duking it out in lead actor.
Broadway legends Bernadette Peters and Lea Salonga will be joining Monsoon in the featured actress race for their turns in the revue Stephen Sondheim's Old Friends. Gold Derby had already predicted that these two divas would buck their star billing for a shot at featured: revues are true ensemble-based productions, and the Tony administration hasn't allowed a performer to compete in lead for this type of production since the '90s.
The other major acting switcheroo is for Jeb Brown of Dead Outlaw. The entire cast of that critically acclaimed musical is billed below the title. Brown received lead actor nominations from the Lucille Lortel and Outer Critics Circle Awards for the Off-Broadway run, but the Tony Administration chose to only bump up his costar Andrew Durand.
Some of Broadway's top writers will also get a shot at a Tony Award for shows they wrote years ago. In 2014, Neil Patrick Harris made a comment in his lead actor acceptance speech for Hedwig and the Angry Inch, lamenting the fact that the show's creators John Cameron Mitchell and Stephen Trask never had the chance to win a Tony Award for the musical. The tuner fell into a rare, but increasingly common, loophole where the revival was its first time being produced on Broadway. The following year, the Tony Awards decided that the writers of any such revivals would be eligible for the top award alongside the producers. This year, that affects musical revivals Floyd Collins and The Last Five Years, both of which have been performed professionally for decades but never on Broadway until now. As such, Tina Landau and Adam Guettel will appear on the ballot for Floyd Collins and Jason Robert Brown will appear on the ballot for The Last Five Years.
Best of GoldDerby
Sadie Sink on her character's 'emotional rage' in 'John Proctor Is the Villain' and her reaction to 'Stranger Things: The First Shadow'
'It should be illegal how much fun I'm having': Lea Salonga on playing Mrs. Lovett and more in 'Stephen Sondheim's Old Friends'
'Death Becomes Her' star Jennifer Simard is ready to be a leading lady: 'I don't feel pressure, I feel joy'
Click here to read the full article.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Chicago Tribune
35 minutes ago
- Chicago Tribune
Review: A full-throated ‘Parade' marches into the CIBC Theatre with a fresh emphasis on human fragility
All these years of reviewing Broadway productions followed by first national tours of the same title have taught me that the casts that take to the road often are the better of the two. Why? First, because musicals on Broadway have to worry too much about stars, Instagram followings and a host of other political factors, as well as the artistry. Second, because directors and casting directors typically don't know who is really right, or wrong, for a role until after the production is up and running. And, third, because Broadway shows have ensemble members and understudies who not only study the show night after night and figure out its artistry and mechanics but often were always better than the leads anyway. When they move up on a tour, they can be quite astonishing. I'm only talking about Equity shows and first tours here, not tired bus and trucks or cheapened one-nighters. And this only applies when the original director and other artists are actually involved in the tour, which is not always the case. If you see 'restaged by' on the program title page, watch out. But for 'Parade,' which is a magnificent tour featuring far more organic and high-quality singing and acting than the nonetheless award-winning 2023 Broadway revival, all of that applies. Spectacularly so. Director Michael Arden clearly is still in charge. And I've seen enough of Jason Robert Brown in a rehearsal room over the years to know he does not mess around when performers are working on his music (I went all the way to Green Bay, Wisconsin, 25 years ago to see the first tour of 'Parade' and found Brown in the pit, conducting his own score). All of that is self-evident at the CIBC Theatre, where I really can't praise the two lead performers, Max Chernin and Talia Suskauer, highly enough. Not only is their singing glorious (as is that of many others in this cast, including, especially Ramone Nelson, Trevor James and Robert Knight), but the two performers essaying the married couple of Leo and Lucille Frank have both a self-obfuscating humility and a rigorous lack of sentimentality encapsulated in their performances. That's crucial to the telling of this somber, real-life story of a Jewish pencil factory manager in 1913 Atlanta who was first accused of murdering one of his young workers. He was railroaded at his sensationalized trial by the smoldering antisemitism founded in the South in the first decades of the 20th century and then lynched by a mob. Alfred Uhry's 1998 book took enormous pains to avoid obvious melodrama and while it would go much too far to suggest that the show claims Frank was complicit in his own injustice, it does make very clear that his personality, his chilly remove, his myopia, sure didn't help. As a result, 'Parade' gains a genuinely tragic patina; you leave the theater not just with a renewed sense of the constant ubiquity of ignorance and evil but also of people ill-equipped to understand even the most basic of facts. Even about themselves. Chernin makes that very clear. And although Suskauer is playing a woman who truly loves her husband, she also makes clear the cost of her husband's wound-tight self-sufficiency on what Lucille had hoped for in her marriage. One watches loyalty undercut by personal disappointment. Most importantly, thanks to these performances, you see both of these characters change and evolve, which I did not think was the case on Broadway. Playwrights were more likely to see the importance of forging such complexity in 1998 than I now usually find to be the case, but then the late Uhry ('Driving Miss Daisy') was a masterful and sometimes under-appreciated writer. And he came from Atlanta himself, so he knew the kinds of characters he was writing about here. Like all shows, 'Parade,' which has been seen several times in Chicago since its creation, beginning at the now-defunct Bailiwick Repertory Theatre in 2004, is subject to the precise moment at which it is experienced. When it comes to issues of antisemitism, the world has changed drastically even since the Broadway revival opened in March 2023. The themes of 'Parade,' have, to say the least, intensified. Saying shows feel newly relevant now is a cliche best avoided in theater reviews, unless unavoidable. (As here). But I think Arden's direction has changed, too. On Broadway, the just post-COVID-19 revival felt nervous of causing offense and ended up pandering in places to those easy, stereotypical views of the South. The scrunched design is the same and I still have my issues there. But this time, everything about the show is far subtler, more balanced and far richer in nuance. Although it sounds counterintuitive, that actually means its revelations of the consequences of fear of the other are all the more impactful, all the more devastating. Rodgers and Hammerstein understood this years ago. Brown and Uhry, too. One last note. Major tours like this of serious, analog musicals emphasizing lyric singing and potent characterizations are being squeezed by jukebox shows, digital spectacles, 90-minute kiddie pop and those that feature branded, music industry names. The road is far tougher post-COVID-19. If you support the idea of these pieces in Chicago, it behoves you to go and see the rewards for yourself. Two weeks only. Review: 'Parade' (4 stars) When: Through Aug. 17 Where: CIBC Theatre, 18 W. Monroe St. Running time: 2 hours, 40 minutes Tickets: $35-$125 at 312-977-1700 and
Black America Web
2 hours ago
- Black America Web
‘Always Work On Your Next Move'—Kandi Burruss Talks Leaving ‘Housewives,' Broadway Wins, And Her Mogul Mindset
Source: MorrisDe Photography / MorrisDe Photography Crossposted from Last year, Kandi Burruss turned the page on her iconic 14-season run on The Real Housewives of Atlanta —announcing she would not return for Season 16. That said, she's as busy as ever. The multihyphenate mogul keeps a full plate, with no shortage of projects in motion. By now, Kandi's expansive body of work speaks for itself. She's a multiplatinum, Grammy Award-winning singer-songwriter, TV personality, actress, restaurateur, and Tony-nominated Broadway producer. Her impact on the culture resonates through music, television, and now the world of theater. Whether she's in the spotlight or behind the scenes, one thing fuels her staying power—Kandi is a phenomenal businesswoman. She spoke with iOne Digital from Atlanta to reflect on life after Housewives , her passion for Broadway, and the mantra guiding her journey. We care about your data. See our privacy policy. This fall, Burruss will receive the Wifetime Achievement Award at BravoCon in Las Vegas, celebrating her enduring run on the Housewives franchise. It's a fitting tribute marking the end of an era she helped define. 'Walking away from something that you had been a part of for 14 seasons is not easy, you know? But I feel good about my decision,' she said. 'I took the leap of faith to say, okay, that part of my life is behind me.' Source: MorrisDe Photography / MorrisDe Photography Despite leaving the show, Burruss is still in the mix, appearing on Bravo's Next Gen NYC alongside her daughter, Riley Burruss. 'I'm really excited for her. I've been doing my best to guide her hard-headed behind,' the mom of three said with a laugh. As for her advice to 22-year-old Riley—who stars alongside other twenty-somethings navigating young adulthood in New York City—Kandi kept it simple, 'Whatever you say, whatever you do—just stand on it. There's nothing you can do that'll make me not love you and support you. Just be a woman of integrity. Don't let them roll the tapes back on you, showing you lying! I've never been that person, and I don't want you to be that person.' Since stepping away from RHOA , Burruss hasn't slowed down, with little time to reflect. She'd braced herself for 'FOMO' (fear of missing out) once the new season began airing. 'But what helped is that I always have a lot going on,' she said. 'I didn't feel like I was missing out because I had other things to keep my mind occupied.' While the show was filming in 2024, Kandi was on the road with Xscape and SWV for the 30-city Queens of R&B Tour . That same year, she joined the production team for the record-breaking Broadway revival of Othello , starring Denzel Washington and Jake Gyllenhaal. Broadway has become another space where Kandi thrives. Before Othello , Burruss co-produced the 2024 revival of the beloved classic, The Wiz , another standout success in her producing journey. RELATED CONTENT: Othello's Opening Night Brings Black Hollywood's Finest To Broadway: See Style Gallery Source: MorrisDe Photography / MorrisDe Photography A theater kid at heart, Burruss fell in love with the stage early on. She graduated from Tri-Cities High School in East Point, Georgia—the starting point for a long list of famed alumni including André 3000, Big Boi, Kenan Thompson, and her fellow Xscape members Tameka 'Tiny' Harris, Tamika Scott, and LaTocha Scott-Bivens, to name a few. 'My love for theater happened in my high school years. I always felt like this is something that I wanted to do.' Other Tri-Cities graduates who made their mark on Broadway—like actress and singer Saycon Sengbloh and sound designer Justin Ellington (who worked on Othello )—inspired Kandi to 'really go after it' in recent years. Kandi made her Broadway debut in 2018, playing Mama Morton in Chicago . During the pandemic, she shifted behind the scenes as a producer on Thoughts of a Colored Man . 'I just wanted to be back in that world,' she said. 'Every business that I've been a part of, I start off as one of the talent—but I'm always curious about how the behind the scenes work.' She went on to co-produce The Piano Lesson , earning a Tony nomination in 2023 for Best Revival of a Play. Burruss understands the power of her platform and how to connect with audiences—not only as a performer, but as a producer. By drawing on her wide-reaching fanbase, she's helping usher new patrons into Broadway venues that haven't always felt inclusive. 'I've seen the audience change from when I first started,' she said, reflecting on the mostly white ticketholders who'd fill the seats. 'But now, a lot of people in the crowd are people of color, Black people. It's so cool to see so many people—and not just from New York—flying in from everywhere to come and support our shows.' Source: MorrisDe Photography / MorrisDe Photography With a constant flow of ventures in her ecosystem, Burruss is always thinking several steps ahead. 'I realized a long time ago that you could be on top of the world, but as soon as you take your foot off the pedal, people will be like, 'Oh, they used to be so dope.'' Her cousin had a saying, 'Well, used-to-bee's don't make no honey, so don't nobody care what you used to be .' Kandi laughed, 'She wasn't trying to be mean, but she don't know how her words stuck!' It's this mindset that keeps the mogul moving forward. 'Always work on your next move while you're in your current move. If you look at the past decade or so, I'm always working on something, trying to figure out how to make the next opportunity. Being a Black woman in any business, you don't want to wait for somebody to give opportunity to you. It's better when you can make the opportunity.' With her legacy in motion, she's not done yet. Already a Grammy winner with Tony and Emmy nods under her belt, she's got her eye on achieving EGOT status—a rare distinction for those who've won an Emmy, Grammy, Oscar, and Tony. 'My dream is definitely attainable if I keep going,' she affirmed. As Kandi embraces this new chapter, she continues to shape culture not just by showing up—but by building the stage itself. 'Always Work On Your Next Move'—Kandi Burruss Talks Leaving 'Housewives,' Broadway Wins, And Her Mogul Mindset was originally published on
Buzz Feed
4 hours ago
- Buzz Feed
Jason Schmidt On 'Outsiders' Broadway Role & Songwriting
Whether he's belting out a tune on the Broadway stage or headlining a concert, Jason Schmidt knows how to capture an audience. The multi-talented performer has made waves with his acting, recently appearing as Buddy in Grease: Rise of the Pink Ladies, original music, and his Broadway debut. To celebrate the release of his new single '7 Stars," I stopped by the Jacobs Theatre to catch up with Jason about portraying Sodapop Curtis in Broadway's The Outsiders, and his journey into songwriting. Note: This interview has been edited for length and clarity. BuzzFeed: I grew up reading The Outsiders, and it's connected with so many people all over the world. What is your own connection to the book? Jason: Growing up, my dad would read to me and my three sisters — he read us The Outsiders, the Percy Jackson books, The Hunger Games, all those. I can still remember images in my head as he read to us, where I pictured the Socs as kind of large and spooky! At the beginning of our show, when the Socs first jump Ponyboy, that scene feels a lot like how I envisioned them as a kid. The Outsiders was also my mom's favorite movie for a long time. She loved Matt Dillon [who played Dally in the film], and so I watched the movie when I was younger as well. How about your connection specifically to Sodapop? In the show, he's the middleman between Darry [Darrel] and Pony, and I think that's who I am a lot of the time. I'm the people pleaser, I'm making sure everyone is laughing and having a good time, and so I really resonate with that plot line and his arc. When Soda snaps at the end, it comes from having fought the whole show to keep Darrel and Ponyboy in good graces with each other, and it's not working. As soon as I read for Soda, he was a character that I felt was right down the middle for me. Honestly, he's taught me a lot about the looseness of life. In another S.E. Hinton novel, Tex, she says, "Some people go, some people stay," and he's definitely someone who stays. He loves Tulsa, and he loves his life there. Soda doesn't ask for much. If more comes, that's great. If it doesn't, he goes with the flow. I'm not like that — I'm someone who holds onto life pretty tightly. So that's where he differs from me, and I think I'm learning to let go a bit more and go with the flow. You have a great sense of comedic timing, and Soda has his share of humorous moments in the show. Are any of these moments improvised? Thank you! They're very scripted. Adam Rapp wrote them amazingly. In the early days of the process, there'd be a little improvising here and there, but with planning around a national tour and all that, they want it to be a repeatable show. We've locked into the script as it is for the most part. I'm always playing around with how a line lands and the timing of it. It's funny — at this point, I probably have four or five versions of every line that I know work well. Some nights, I'll try a different version. But if I'm tired or something, I'm gonna go with the tried and true delivery (laughs). For the most part, I try to listen and be responsive to the other actors in the scene. I think that humor is such an important part of the show because it's so dark. A lot of sad stuff happens, and there's not a lot of comedy. It's nice to get the audience to laugh a little bit, like before "Runs in the Family (Reprise)" where Pony and Darrel get in a fight. I love playing a role that brings the humor and lightens it up for a moment. While Soda adds humor to the show, he also has a really emotional scene at the end of Act 2. Is it difficult to get into that more emotional headspace? Not really, to be honest. Beneath the comedy, Soda is using it as a defense mechanism, and he's using it to cut through the emotional moments that his brothers are dealing with. So while he's very comedic, there's always an undertone of reality. Soda is not the most book-smart, but he is very emotionally intelligent; he really understands other people, where they're at, and what they need. That keeps me kind of locked into the reality of the show, which makes it pretty easy to slip in. I also think the writing is incredible, so it just leads me right along. The music of The Outsiders has many fan-favorite songs, especially "Throwing in the Towel." What is your favorite part of performing it? I love performing that song with whoever is on for Darrel that night, usually Brent Comer most of the time. I love doing it with Dan Berry, Victor Carrillo Tracey, and John Patrick Collins as well. It's such a beautiful connection of brothers. I remember growing up, there was a mentor of mine who I really wanted to do a duet with. And we were like, which song should we do? It was pretty evident there's not a lot of male and male duets to sing together, so I love being in a show that provides so many. It's such a special moment between the brothers. Hearing how men have been impacted by the show is super important to me. We've watched brothers kind of lean their heads on each other's shoulders, and put their arms around each other as they watch the show. I think that's the most special part of "Throwing in the Towel." When you're in between scenes, what is the vibe like backstage? We're having so much fun! Whoever's on for Darrel, we're backstage together the whole time, messing around. We're just chatting it up in between scenes, and we've got fun things backstage like our whiteboard. There's always something on the board like 'This or That,' where everyone marks their tallies. That's always fun. I have a great time in my dressing room with Daryl Tofa [who plays Two-Bit]. We write all sorts of little ditties. The rumble is one of the most unique moments I've ever seen on a Broadway stage. Can you tell me about what goes through your mind when you perform that scene? At this point, it's pretty much muscle memory, though they've added more rain than we used to have. I'm really focused on the actions and making sure everyone's safe. A lot of nights, we're joking around on stage, and whispering in each other's ears, things like that, especially when we hold in a position. Davis Wayne is my main partner in the scene, and we have fun whispering stuff to each other. It's this huge, violent scene, but everyone's just giggling, and saying jokes, and being nice to each other. Early on in previews, the band told us that they could hear all of our mics in the pit, and loved hearing how funny everybody was. It's such a cool scene and we know the impact it has, but when you're in it, it's about safety and having fun, and lightening the tension on stage. I remember watching you all perform the rumble at the 2024 Tony Awards! Oh yeah, I blacked out, for sure. I mean, the adrenaline's crazy. There's a thing you talk about, red light fever, where you need to be more careful when the adrenaline is up, because your body would do more than you normally do. We all talked about that before the performance, but it was so fun. It was like the best 10 minutes of my life. Theo Wargo / Via Getty Images I definitely want to chat about your original music. What inspired you to get into songwriting? I had two close friends in college who really inspired me to delve into it more. It's something I was always very interested in. I started writing in high school, but none of that stuff was good (laughs). My friend Andy was releasing his first album freshman year of college. I asked him questions about producing the music and releasing it, and he really inspired me to keep writing. Once I got going, it just snowballed, and I was writing all the time. What I love about songwriting is it's a form of self-exploration and self-expression. The exploration part of it is super rewarding for me, and it's very journalistic, so I can find a lot of things about myself through doing it. Sometimes I'll write a song and not really know what it means, and then months later, I'll finally understand! Jason Schmidt / Via The Outsiders I love your new single, "7 Stars." What was it like writing that song? Thank you so much! It was very special, partially because it was my first session with the producer, Simon Gooding, and it was the first thing we ever wrote together. Now we've been writing a lot more music together, but this was the session that was like, "Oh yeah, this dynamic definitely works." A lot of the songs I write are super personal to my life. "7 Stars" definitely has a taste of that, but it was kind of a story I invented in my head, and let my imagination run wild. Where I grew up in Arlington Heights, a lot of people will go to the same three or four colleges, and then they'll come back and get a job there. I definitely was somebody who left. I love the suburbs of Chicago. I'd love to be back there at some point, someday, but I knew that for my life, I needed to move out and to leave. Writing about people who got stuck there, but knew they were born to leave, was a super fun experience for me. I know tons of people like that; I feel like that in my life. I think I'm an explorer. I don't love staying in one place for too long. That kind of "born-to-leave energy" will pop up at certain places. Like, it's time to move on and continue with this crazy journey. What's up next for your music? I'm really excited! When I started releasing music, I was pretty young. Now, there's more planning and preparation that goes into it. I think when you listen to my first EPs, the styles are pretty varied, and I didn't exactly know what I wanted a 'Jason Schmidt' song to be. I've been writing for a long time, and I feel like we've really narrowed what I want my music to sound like and the story I want to tell. I'm very excited for people to hear that final sound. "7 Stars" is a taste of it, and I think the next stuff I'm doing really hits the pocket. So I'm very excited about that! Finally, you recently headlined a show at Elsewhere in Brooklyn. What is the biggest difference between performing on a Broadway stage versus a concert stage? Broadway is arguably easier, in some ways. It's scripted. For the most part, I know exactly what I'm going to do. You can practice it, and you can really rehearse it. With music, I never plan out what I'm gonna say about the songs, or where I'm gonna take breaks. When I see a concert, I think it's less fun when I can tell they've planned everything out. You're there to see the person, and I don't care if they flub or stumble over their words. I want to hear the artists' raw and unfiltered thoughts. I try to do that for myself, where I'm interacting with the crowd, and I'm essentially improvising. When I get off stage from my own shows, I feel like I poured all my energy into this last hour and a half. I think that's my goal with my music shows; I want to feel like I get off stage and have nothing left.
