When we spoke with Bill Evans, who was playing Hastings in Pimpernel, we asked him if he could see audience reactions from the stage.

Actually, there have been like three times when someone in the front row has been sound asleep. Sound asleep. My friend and I went like this: down and stamped our foot. [Singing:] "Yes it's higher and higher and [pound] IN-to the fire" -- not as blatant as that.

And the other day, actually, something really magical happened, I thought. We were doing "Into the Fire" and when we all walked down, there was a lady with her son, and the kid must've been four or five--he had his own seat but he was sitting on his mom's lap at this point--and he was singing "Into the Fire" with us. I don't know if he was actually singing, but he was definitely mouthing the words.

I remember doing Camelot once, and I was Mordred, the villain. And when we came out for our bows, and I came out, I remember this kid going, "Boooo!" and then everybody else came out and he was just clapping, and it was just so magical watching that. And then seeing this kid, it reminded me of that Camelot story. Seeing that kid sing along with us, you know, that's pretty wonderful to be able to bring that kind of excitement, that creativeness to the child, at that moment, or for him just to enjoy it that much. You know, for me to get a "boo" as Mordred, and then for him to be so excited for King Arthur and everybody else . . . . For this kid to be singing "Into the Fire" was really special.

We asked Dave Clemmons (Confederate Sergeant Virgil Franklin and the Auctioneer's Assistant) if he thought he had a character to play in Civil War.

I always like to think that as an actor, you gotta figure there's 1500 people in the theatre, right? Probably, at least one of those people is looking at you. No matter what you're doing. Even if you're standing in the back. Probably somewhere, one out of those 1500 is looking at you. And if they are, what story are you telling them? Are they looking at you and seeing somebody who's bored? Or are they getting some sort of story? So I really try to, as much as possible, make up my own story, and know where I am, and why I'm there, and what I'm doing. So, that whoever decides they're going to look at me, they get a story, they get a sense of it. And so while maybe I'm not saying a lot or doing a lot on the stage, I will somehow further the story of the show by what I'm presenting as they look at me.

And what do you think is your story?

Well, they told me that I'm a Sergeant, just by the stripes that are on my uniform. As Gene [Miller, playing Captain Pierce] sings certain things, there's times that I'll be close to him, or times that I'll be close to other people on stage, and I try to think, "What's my relationship to them and how do I really feel about what's getting ready to happen here?" And it can change. So one night, during "Judgment Day," I may be very scared to die that night. And the next night, I may be just fired up to go kill Yankees, you know what I mean? But as long as you're making active choices, I think you're in good shape. And that's just what you have to do. As long as you're telling some sort of story. The place I can do that the most is, even though it's a very small thing, in the auctioneer scene. I have to figure, while I'm a person that would never do anything like that, I have to figure out my relationship to this person that I'm trying to sell.

Jeremy Roberts's credit for J&H reads "Musical Supervisor/Electronic Music System Design." We asked him how he ended up going so far into technology.

It was there.

Didn't you start at the music end of things?

Yeah. That's all I do. I'm still just a musician. The perception is that I'm Mr. Technology. Well, it just serves the music. And when it stops serving the music, then I turn it off. For Linda's tour, we used to carry all this computer technology because, it wasn't just an economic thing, we were trying to make it sound huge. And here we were--three musicians or five musicians--and that's all there was back then. But I carried this huge computer.

Three guys and a Compaq.

Yeah, well, that's basically what it was. The first Jekyll, it could've been three musicians--a piano, bass and drums--or it could be me and my machines. And I think that we fooled the listener into thinking it was a lot more than it was. And it either made me or ruined me, or some combination thereof, because it sort of locked us into this technology thing for all these years. But then we also got to develop new ways of making music. And new approaches to integrating technology with the traditional methods, and then we started getting these hybrid sounds. Jekyll was a perfect score for going that route, because there's nothing organic about Hyde. He's sort of organically-induced but, sort of not. As Greg Boyd used to say, "Better living through chemistry."

So, it was a perfect vehicle for all this. We were using midi as a communications protocol, using custom software, and our events were short. Sometimes they were a note, or a beat, or one bar, or a loop. We weren't triggering, as the average person could trigger a midi, a whole song. The beginning of "The Board of Governors," in the old days, was this loop that kept going. But then we had another loop going on top of that, and a third loop. And then when the hits came in, it shut everything off. So, it was sort of fun to make, `cause that was all real time, and never the same. And it was based on the stage. Whatever the stage did, we went with.