Obviously, if you’re doing something in the theater, what you’re doing has to be on a large enough scale that everybody in the theater can experience it. You have to hit the back wall, as they say. You have to be able to make sure, if you’re experiencing some incredible thing on stage but no one can hear you, then you might as well not be on stage. However, if you were to be that big on television or in film, you’d look grotesque. It would look odd and weird, because the camera is right in your face, so you just have to learn how to exercise different muscles, but still going for the same goal, which is the most truthful way that you can express a character or an emotion. So for me it’s just about staying within that truth, and then learning about the different techniques. And then the same thing with concertizing too. You have no script. You’ve got no fourth wall. There’s nothing, really, no character to hide behind. So for me it was about learning how to communicate with the audience, and be comfortable with who I am is enough, and then slip into character for each song. But in between each song, you have to be honest and be comfortable with who you are. So that was also another sort of thing for me to learn. It’s trial by error. I fell on my face many times, figuratively and literally. I have fallen on my face in concert. But someone said to me once — a lady I was doing my first national tour with, Mary Fogarty. She had done a million plays by this point. She was about 70 years old, she’s passed away now. But I said, “Where did you study acting?” She said, “The stage, honey. I learned on the stage.” I said, “You didn’t go to college? “She said, “No, no, no, no. I had to get on stage to figure out what I was doing wrong, and the stage will teach you.” And I’ve never forgotten that either.