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  • Every play is rhythmic control. If you want an audience to go on a journey, it's rhythmic control. You're crafting when they lean in, when they push back, when they breathe, when they surrender. It takes you probably five to six minutes to build trust with an audience. A musical you can build trust in three notes. Boom, boom, boom, you're instantly seduced. So musicals have this easy potency, but generally, in my opinion, they waste them, because a musical is incredibly hard to do.

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Every play is rhythmic control. If you want an audience to go on a journey, it's rhythmic control. You're crafting when they lean in, when they push back, when they breathe, when they surrender. It takes you probably five to six minutes to build trust with an audience. A musical you can build trust in three notes. Boom, boom, boom, you're instantly seduced. So musicals have this easy potency, but generally, in my opinion, they waste them, because a musical is incredibly hard to do.

When I came to Delhi first and said, "This is not India. And then I was taken to Varanasi and there I loved, loved the culture. It was a beautiful journey. The way the people dressed - even the poorest people, and the fabrics! With vegetable dyes, and I was fascinated by the color. But in the end I loved the men - all in white - so many shades of white. And I said, "What am I going to do? A color collection or a white collection?" I finally did a neutral white collection.

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