When you look at sort of pop stardom now, some of these singers, it seems like the idea of them was created in a marketing meeting, and then they just found someone to sort of fulfill that role.

I think Frankie Valli did everything right. He kept singing. And you also have to remember, he was confined to a certain society, which was this sort of like - the wrong side of the law kind of society of Italian guys from the streets of Belleville, New Jersey. So he found his way.

But when you get to know a character so well, you start to have insights that you can't show because you're confined to your script of your hit show.

I think you couldn't do this role or you couldn't be Frankie Valli himself unless you had a natural falsetto. And I had sort of discovered it by accident as a child or a young adult when you realize you have a special skill that you don't really have any use for you, and you just take it out at parties or to amuse your friends or to annoy your girlfriends.

I think one of the ways that these young singers got started is that they would end up in clubs. And a lot of them were mafia owned. And so there was almost an unspoken kind of mafia sponsorship, which is just a very interesting part of that area's music history.

It was great to play for a live audience on a stage.

I've learned to keep my work on the stage or on the screen.

I approach the singing kind of like with dialect thoughts in my mind. I have to sound like this on certain things to give that Frankie Valli flavor.

I don't have a Jersey dialect. So when I approached the singing, I approached it the same way as an actor I approach a dialect, just as a singer.

I definitely worked really hard to evoke Frankie Valli, but not do a strict imitation, because I feel that a strict imitation is not as compelling to watch.