And what makes a great director for you to work with, whether it's Tyne Raffaelli or Diane Paulus or any of these great people you've worked

with? Someone who is...

I mean, there are so many things.

Like, with Tyne, I feel like the specificity with which she was able to watch the story and appreciate moments and give notes that really... made sense in terms of like making the change or getting me to where I need to get for the role and for the performance.

She's also just like incredibly easy to talk to.

And I feel like could like cut to the heart of the matter with talking about whatever was happening in the scenes.

And it wasn't, there was no like discomfort for that, especially like, it was nice to have a female director who like could actually understand the points that I might be making about like what the character might be feeling or what the character is going through.

And so I wonder what led you to take on your role in Fucking A, which was such a different type of show than things you've done before.

Mm-hmm.

And so it's just, it's just not a luxury that you have.

I, I, I, you know, like with this cast album, because I have done more, and also I didn't have a ton of material.

I had one big solo, so I felt like I didn't feel as rushed.

There definitely was something that we did and everyone was like, "Okay, I think we got it," and I was like, "Uh, I, I didn't like how I did that.

I think I can..." I think I had vibrato where I don't usually have it and I wanna try it again, see if I can do, like, straight tone into that.

And I'm glad I did 'cause as soon as I did it, then everyone was like, "Oh, yes.

Mm-hmm