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Continue reading the main story Suzy Menkes on the fashion designer L'Wren Scott e A Times selection of noteworthy cultural events in New York City and beyond e Net-a-Porter means “ready to party" Continue reading the main story The first day of rehearsal for “Macbeth,” Alec Baldwin sat down next to me. “Who do you play?” he asked. My voice quivered: “Ummm, I play Fleance and Young Seward.” He paused. “Oh — so I kill you twice.” Each night, as he drove his broadsword through my heart, I thought, “I’ve made it!” In the sixth season of “Scrubs,” the show’s creator, Bill Lawrence (also a major fan of musical comedy), decided to do a musical episode. It was the first time I had done musical comedy since I was at camp, and it instantly reminded me how much I loved it. My favorite song from the episode was called “Guy Love.” In it, Donald Faison (my best friend in real life and on the show) and I sang about how our homoerotic love for each other was nothing to apologize for. (“It’s guy love, that’s all it is.””) The experience replanted the seed, and I made a promise to myself: One day I would sing on Broadway. Zach Braff, left, and Donald Faison on “Scrubs,” which had a musical episode in its sixth season. Credit ABC I’d be curled in the fetal position spooning a pillow right now, though, if it weren’t for my current director, Susan Stroman. Directing and choreographing a musical is the most epic undertaking for one human being, yet Susan (or Stro, as the cool Broadway kids call her) handles it with aplomb. And she’s not just choreographing the actors and dancers, but also the magnificent set designed by Santo Loquasto, which moves in ways I didn’t know scenery could move. It’s a dance of men and women and machines and winches and elevators and lights. The wings of the St. James are very narrow, so when a giant piece of scenery disappears from the audience’s view, the most elaborate game of Tetris begins, as the outstanding stage crew turns and lifts and twists; not an inch is wasted. The second the orchestra strikes the first note of the overture, no one stops moving until the final curtain hits the deck. During “Manhattan Murder Mystery,” I had every word of my lines memorized down to the punctuation mark. I’ll never forget: The first thing Woody said to me was, “We’re probably not going to say exactly what’s on the page so ... you know ... just try to keep up. ...”” While we’ve been in previews on “Bullets,” he and Stro have been giving us notes each day on the previous night’s performance. One night, I dropped a great joke by accident. He said to me with a smile, “You’ll probably get a bigger laugh if you actually say it onstage.” All the people on Broadway are the best at what they do. All dancers want to work with Stro, so she gets the best dancers in New York City. Is there an oboist in the orchestra? You can guarantee he’s the best oboist on the island of Manhattan. Need to recreate the look of 1929? The six-time Tony winner William Ivey Long is here to design the costumes. And the voices! I am in awe. There has yet to be a time when I don’t get goose bumps when Betsy Wolfe, who plays my girlfriend, belts out the final notes of our duet, “I Found a New Baby.” HOUSE_OVERSIGHT_028525