Ok, if the world is reading... 😅

For the buffs: I could talk about Sondheim all day and he's still one of my favourite composers, but I'm somewhat torn about the whole 'son' narrative that others might be cooking up...

I mean, even if he was keeping tabs, it's not like I reached out. Plus I was born 64 years after he was born, so that's more like grandson lol. I came out before he died, so if New Yorkers were following along, I was Amanda already by the end of 2021. -

I wish I'd met him, and I was crushed when he died, but that's about it.

I'd say my Preludes were probably something that his death freed me to write, much like Andrew's death freed me to be Amanda.

I mean, I'm all about the legacy and all that, but yeah I totally see death as a type of liberation. I'm not a massive Strauss buff, but Death and Transfiguration is awesome. -

Yes, now that I've published it, I'm very aware of how significant that tape he sent me was given his own life story. When I received it, I was honestly disappointed that he didn't dig into my songs .. but yeah, that tape was a moment.

Maybe I should've told people. But, as I say, when Cruz knew who he was I was like 'ok, maybe I'll keep this to myself' in case people thought whatever.. as I say, it wasn't a welcoming environment for me the musicals buff when I was doing my legit degree.

I mean, if I'd told anyone, they wouldn't have believed me.😅