"Thursday, February 16th, 2017 was a special day. I was both excited and nervous as I stepped into SIR Studios in Manhattan to start the first orchestra rehearsal for the Broadway production of Miss Saigon."

"When preparing a percussion book for a new Broadway show, we occasionally get the music in advance. That allows us to start our “treasure hunt” early, to have the right sounds ready, and to get a jump on the setup. But often, Broadway is the first appearance of the fully orchestrated show, and we have seen very little before the first rehearsal."

"The musical experience of recording a Broadway cast album ranges from easy to difficult depending on the circumstances. I find that the two factors that contribute most to the quality of the experience are: 1) how good the band is; and 2) how soon after you started the show you record the album"

"To be sure, a key component of being a solid Broadway drummer is versatility. It’s about knowing as many different styles as possible, and then being able to translate them into the context of all that a musical entails. Knowing how to read music is a given, but it’s only after much experience that you learn to adapt to different styles..."

"It hasn’t always been easy (and it’s certainly very odd right now!) but personally I’ve always enjoyed the challenge. I’ve heard a few things along the way that have informed how I’ve thought about New York City and the idea of 'making it'”.

"I’ve experimented with the bottom heads being a tritone a higher on certain gigs if the drums are bigger. At my current Broadway show, I’ve even had the tom heads an octave apart! This may sound extreme, but the toms are big and I needed to reduce sustain. There are so many possibilities."