You can't be a human and a guy and not connect with Pippin... I often feel like Pippin. I come offstage sometimes like 'Oh my God, I've got to do this next time! I've gotta go there. I'm going to make this choice.'

I suffered a bout of depression that pushed me to reevalute things in my life, and I learned a lot about myself and the world and my spirituality. I sat at a piano, and the ideas fell into my head. I started playing, and I felt comfortable with my music for the first time.

I know it's cheesy, but if you listen to the universe, it gives you pointers. I strongly believe if you keep your ears open and eyes open, your path will become clear. You just have to make sure you don't ignore it.

I'm not a great guitarist, but I do bits and bobs. I'm mainly a songwriter and a composer. I've done a lot of scoring and some stuff for British pop music that did pretty well, but I've mainly been working on my own stuff with Duncan Sheik.

In auditions, you're not up against anyone else; you're both going in for the role, and it's like, whoever's right for it will get it. It's simple. It's not like, 'Oh I won!' There's never that element. It is very supportive.

I loved 'Matilda.' The kids are so brilliant and uninhibited. They were inspiring. Seeing them onstage, just going wild, reminded me of when I was that age. I was excited for them and completely taken by their innocence and hard work.

I like building and making things. I, perhaps, would like to try my hand at directing one day. Sometimes I fancy myself as an architect - but I think I might need to go back to school for that.

Any young man coming of age has a lot to go through. Peter Parker certainly has a lot of responsibility, and without doubt, so does Pippin - his role, his life, and how he is going to perform it. It's all about choices and how we make them.

The thing with 'Pippin' is not to over think it too much. If you try and overthink or plan and over-analyze - it's like with any role really, but this one specifically - you can run into sogging wet newspaper. It's just too exciting to do that. It's nice to be bounced around and surprised at almost every line that comes out of your mouth.

When you get into a production, there are a lot of things you have to hit to make the show work - like my cues or a cue for another person or making sure you don't mess up the beat, and you can let all of that get in the way.