Phillipa Soo

“Right out of school, I did this show called 'Natasha, Pierre & the Great Comet of 1812.' It is based on a classical text with new music - not necessarily confined by a certain genre. It was a diverse, interesting group of musicians, actors, nonactors, and singers all creating this thing that is bigger than all of us.”

“All I wanted to do was create theater for us, for our generation, for the people of this planet. And it's so rare that the art that you are making is reaching a huge mass of people.”

“Doing something out of town is so beautiful because it really becomes about the process, and the product will be a result of it, but process is what is the goal - to really see what works and create the best story possible.”

“There's the cool factor, right? You see your face on a sign or your name on something, like, 'Ahh! Here I am!' And then there's a huge responsibility and the scary part of it, which is like, 'Now what happens?' And then you realize, 'Oh, yeah, this is my job.'”

“During the winter of 2013, we were running 'Comet' up in midtown - as opposed to downtown - and across the street in the Standard, and that was, like, our third time going at it, from Ars Nova to downtown to near Broadway. We weren't on Broadway. We were near Broadway, as we said.”

“I find it's nice when I can be a listener and absorb things coming at me. It's important, especially for me, when so much of my job is about putting things out into the world. So those quiet moments are rejuvenating.”

“I came to New York for school, and then I did this amazing show that was received very well, with a great group of people, and I felt like I was creating something that I was really proud of, and then 'Hamilton' was my next big thing in New York.”

“When I go into a theater, I'm very excited to turn off my phone. But then, of course, I get anxiety.”

“Everyone has a different interpretation of characters we know and love from Shakespeare, from 'Miller'. There's specific things about them that are written that are kind of the fingerprints of the first person who played that role, and so I like to think of it as a road map.”

“When you're on a show schedule, everything is heightened. You're always aware of what works and what doesn't so you can be at your best.”

“I didn't know anything about Eliza when I first got the call about 'Hamilton.' Tommy Kail, the director, asked me if I wanted to be a part of it. I knew what he was talking about because I'd seen the video of Lin performing it at the White House for Barack and Michelle Obama.”

“That's kind of just the nature of our business, is that you're really putting a lot of energy and time and care into something that isn't necessarily going to last forever.”

“I decided one day to put on my tutu and jump on the coffee table and sing Aretha Franklin songs for the painters that were painting the house.”

“The only musicals I've really worked on in New York are new musicals, and I like the idea that my job as an actor is also that of a detective, archaeologist, and mystery solver.”

“You're able to get into somebody's brain through song.”

“I wake up around nine, drink a cup of coffee, answer some emails, and ease myself into the day.”

“I've prioritized taking care of my mind, having fun, and doing things that make me laugh. And eating well - as in, really good food, like steak or pasta or fresh vegetables or an amazing dessert. You know, 'treat yo'self.'”

“I'm definitely not as good as people who consider themselves beatboxers.”

“Now, when building a show, I ask myself the question - like, 'Jumping off this table will be really cool, but can I do that eight times a week?'.”

“I will say, I can definitely throw down a sick beat once in a while and provide an amazing backup track for somebody who can really, actually freestyle.”