There was a time when I would have been embarrassed to say that I made a Broadway show. But with Spring Awakening, the director Michael Mayer said, “I’ve seen your work, and I think your aesthetic would really lend itself to this piece I’m making.” So he was speaking my language. I thought, “I’ll give a little time to it. If it doesn’t work I’ll walk away.” Then, of course, you get invested. With Fela!, the producer Stephen Hendel thought Broadway needed this new music and wanted a director that didn’t come from that world. He believed in me and indulged me with five weeks of previews. So I was taken care of. I’m working on another show right now with a very experienced producer, who said, “We’ve got to work together.” Broadway’s a very conservative place, but I hold out hope that I can still contribute—and maybe it will be the cash cow that helps me retire.