I'm not an advocate of true rhymes, I don't think. I think that everyone who writes musical theater needs to know how to do true rhymes, because that's the tradition of it, but I do think that in order for the art form to grow, it's important to not let tradition get in the way of innovation.

My first writing job was with a company called TheatreworksUSA.

The things that I have done that haven't been as successful have been things that have been largely out of the public view, which is great. It's terrible, when you're a theater writer, to have a big flop publicly.

I try to turn off the TV and play with my kids as much as I can, and I always hope they're having as good a time as Mormon kids.

I'd like to think I have a strange affinity for the embarrassing. Not sure what that says about me. But I like the awkward, uncomfortable comedy.

I'm not just a big-haired redhead country singer who dresses flamboyantly, has this wicked sense of humor and wears rhinestones.

I guess the essence of my comedy is to get into a very abnormal situation but act like it's normal.

It just seems like the most successful, iconic love stories are not so easy or escapist. I think the ones that stay with us and resonate are full of conflict, discord and misunderstandings 'cause that's what makes drama happen or tension even if it's a comedy.