The final scene in “Hamilton,” where Eliza reconciles with her dead husband’s legacy, is pretty emotionally overwhelming. Did you need to rush back to your dressing room and decompress in silence? Some days. Doing a show eight times a week is kind of like doing yoga or tai chi. A vinyasa is the same every single time you do it, but depending on how you’re feeling, it tells you a lot about what’s happening in your life. So, there were days where I’d come offstage and be like, “Let’s go out and drink.” But you learn little tricks here and there. Some nights I’d say to myself, “I don’t know if I can watch my son die.” But you learn that you don’t have to go there every night; the writing does that.

You reunited with your “Hamilton” co-stars Renée Elise Goldsberry and Jasmine Cephas Jones to sing “America the Beautiful” at the Super Bowl. Was it a different experience to perform for tens of millions of people? I’m looking out and going, “That’s a lot of people.” But I didn’t really get nervous. Once we got up there, we couldn’t actually hear anything. All we could hear was our own voices. And I was like: “O.K., well, hopefully it sounds good. Am I even performing? Can you guys hear me?”

“Amélie” originated as a French comedy film in 2001. Why do you think people are still thinking about it? It helps that there are no iPhones in it. It’s set in a time where pay phones still existed. It really asks a great question: What have we lost since then?

Do you worry that message gets lost on younger audience members? I remember doing a workshop of “Amélie,” and we had a prop of a rotary phone. The little girl who was playing young Amélie looked at it and was like, “What is this?”