AOL: Stark, what it's like having all those fake tattoos?
Stark: I have 13 fake tattoos that just live on me because it would be a real pain to put them on every show. They stay on pretty well. Every other day, I go in early and put 'em on with our makeup artists. It's changed the way that I'm treated on the street. The people that normally would gravitate towards me cross the street and don't talk to me. And the people that normally I would cross the street to be away from come up to me and talk to me. It's been a great learning experience. I kind of use it sometimes. I turn on the tough. I'm not really a tough guy in real life, but this makes me look that way, so, I throw some mean glances every once in a while.
AOL: The choreography seems more physically demanding than most other shows. Is that true?
Tony: It was really important for Steven Hoggett, the choreographer, to really connect the physicality with the music we were up against. It would have been really disingenuous to what we were trying to present if the movement wasn't hard, if it didn't require so much energy that came from the inside, and that's just visceral, and over and over, that's really pounding. If it wasn't that, I don't think there would be a real connection to what was going on musically. The combination of those two things are what makes this thing so believable and, in the end, truly a touching story.
John: When you go see Green Day live, they play for three hours. When I saw them, the first thing out of my mouth was, "How do they do that? And Billie Joe Armstrong, how is he still standing at the end of that concert?" Michael Mayer was like, "If we're going to make a Green Day musical, that has to be part of it. People have to say the same thing after seeing our 90 minutes: 'How are they all still standing up after that show?'"