What is it like to stay with a show and a character for that length of time?

Yeah, it's new to me.

Uh, every other run that I've ever done has been at most, what, three, maybe four months, uh, if I've been lucky.

And this has been the gift that keeps on giving.

Um, the challenges at The Play That Goes Wrong, I think, are not too dissimilar to other long-running shows where the, you know, the artifice is that the events that you're seeing on stage are happening for the first time.

That's true with just about any play.

But it's really heightened in our show where it's opening night every night.

Um, so what's maybe something about Robert, though, that you discovered maybe during rehearsal or, again, over the seven years that, like, maybe you didn't first expect when you got the role?

Are there any internal drivers? Do you ever find yourself having to kind of keep things fresh from an internal standpoint?

Every show, every single performance.

You know this.

At pre-show places, which is 15 before curtain, I go backstage and I sit in the same chair for those 15 minutes.

And some of that is just sort of a little meditative zoning in, listening to the people filter into the theater, a sound that I love.

And then I always give myself at least one assignment for that performance.

And it can be a little thing like, don't botch the timing on the coat rack.

It's meant to be