It's the coolest job to be on Broadway.

You can't avoid the conversation of diversity and remembering that diversity goes beyond race and culture. It goes into gender and sexual orientation and all sorts of things.

I think I'm obsessed with food. Maybe that's why I'm making the transition to organic products - they just feel yummy. I like vanilla scents. I like mint. I like sage. I like the idea of smelling blackberries every time I blink. It's so good.

I think in general, people are baffled by love and what it does to them and how far they'll go to have love and be loved.

I've prioritized taking care of my mind, having fun, and doing things that make me laugh. And eating well - as in, really good food, like steak or pasta or fresh vegetables or an amazing dessert. You know, 'treat yo'self.'

On long car rides, we would always listen to the 'Blues Brothers' soundtrack and try to emulate everything that Aretha Franklin was doing. There was soul and grit in it that I think a kid from the suburbs really needed.

Doing something out of town is so beautiful because it really becomes about the process, and the product will be a result of it, but process is what is the goal - to really see what works and create the best story possible.

I hope they're reminded that joy is very easy to access if you just put down your phone, look at another person, and make a human connection. You'll find a new experience that you wouldn't have had otherwise.

When I go into a theater, I'm very excited to turn off my phone. But then, of course, I get anxiety.

We try to find the information, the clues, to unlock the play or the story or our characters, especially when they're based on real people that live and breathe.

We did a student-initiated project of 'A Little Night Music', which was the first time that all of the divisions - music, dance, drama, opera - came together and put on a piece. It was a black box kind of feel. We had to get costumes that were pieced together. We had our own lighting that we finagled.

I didn't know anything about Eliza when I first got the call about 'Hamilton.' Tommy Kail, the director, asked me if I wanted to be a part of it. I knew what he was talking about because I'd seen the video of Lin performing it at the White House for Barack and Michelle Obama.

Beyond just the respect that you want to have, people just miss out on being in the moment when they have a screen in front of their face. I just don't know to tell people. I feel it's like, you know, 'Turn off your phone and go to the theater.'

Exposing yourself to many kinds of art can only lead to amazing things. It helps you learn about your own art, your own taste, what kind of art you want to create for yourself.

I will say, I can definitely throw down a sick beat once in a while and provide an amazing backup track for somebody who can really, actually freestyle.

I definitely have been approached and reached out to by a lot of young Asian American and Asian women, which has been really cool for me.

Doing a show eight times a week is kind of like doing yoga or tai chi. A vinyasa is the same every single time you do it, but depending on how you're feeling, it tells you a lot about what's happening in your life.

There's the cool factor, right? You see your face on a sign or your name on something, like, 'Ahh! Here I am!' And then there's a huge responsibility and the scary part of it, which is like, 'Now what happens?' And then you realize, 'Oh, yeah, this is my job.'

It wasn't until 'Hamilton' that I began to be considered an actor of color, and I really don't know what to make of it.

I'm definitely not as good as people who consider themselves beatboxers.

Everyone has a different interpretation of characters we know and love from Shakespeare, from 'Miller'. There's specific things about them that are written that are kind of the fingerprints of the first person who played that role, and so I like to think of it as a road map.

That's kind of just the nature of our business, is that you're really putting a lot of energy and time and care into something that isn't necessarily going to last forever.

The only musicals I've really worked on in New York are new musicals, and I like the idea that my job as an actor is also that of a detective, archaeologist, and mystery solver.

I feel like 'Amelie' is very much an extension of me. She's a contemporary woman who sees the world through her imagination.

It doesn't matter where you are: theater brings people together.

Now, when building a show, I ask myself the question - like, 'Jumping off this table will be really cool, but can I do that eight times a week?'.

I took dance from a very early age, although my first recital, I remember refusing to go onstage. I think I was three. It's funny because that stage was also my high school theater stage.

Right out of school, I did this show called 'Natasha, Pierre & the Great Comet of 1812.' It is based on a classical text with new music - not necessarily confined by a certain genre. It was a diverse, interesting group of musicians, actors, nonactors, and singers all creating this thing that is bigger than all of us.

During the winter of 2013, we were running 'Comet' up in midtown - as opposed to downtown - and across the street in the Standard, and that was, like, our third time going at it, from Ars Nova to downtown to near Broadway. We weren't on Broadway. We were near Broadway, as we said.

I feel more like an American citizen now than I ever had, and it's artistically fulfilling.

There's a huge shift in the way we connect with people as humans in the technology age versus right before that, when we still had a little bit of mystery.