Theater Talk

Carousel | The Iceman Cometh
TONY-nominated actors Joshua Henry and Jessie Mueller from Rodgers & Hammerstein's Carousel and Musical Supervisor Andy Einhorn perform excerpts from "Bench Scene" and discuss its musical architecture with co-hosts Jesse Green and Susan Haskins. TONY-nominated director George C. Wolfe shares his insights into Eugene O'Neill's The Iceman Cometh and working with Denzel Washington.
TRANSCRIPT
>> HASKINS: Coming up on
"Theater Talk"...
>> BILLY: ♪ On a night like
this, I start to wonder ♪
♪ What life is all about
>> JULIE: ♪ And I always say
two heads are better than one
to figure it out ♪
♪
♪
♪
♪
>> HASKINS: From New York City,
this is "Theater Talk."
I'm Susan Haskins.
And here with me is my guest
co-host, Jesse Green,
Co-Chief Theater Critic
ofThe New York Times.
And we are so delighted to be
focusing right now on the
wonderful revival of
Rodgers and Hammerstein's
"Carousel" at the
Imperial Theatre.
We are joined by
Billy Bigelow -- Joshua Henry,
Jessie Mueller -- Julie Jordan.
Both Tony nominees this season.
And Andy Einhorn, the
Musical Supervisor of the
production.
>> GREEN: And we're clearly at
the best piano bar in New York.
[ Laughter ]
So feel free to order
some drinks.
>> MUELLER: Yes.
Tip your waitstaff.
>> GREEN: We wanted to focus
today on the famous scene that
concludes with the most famous
song from the show,
"If I Loved You."
But we're not -- Spoiler alert.
We're probably not gonna focus
on the song so much itself as
the incredible construction of
this rather long scene.
Actually, how long is
the whole scene?
>> EINHORN: I think it's around
nine minutes.
>> GREEN: Wow.
>> EINHORN: It's quite a
monolithic piece of music.
I mean, it's Shakespearean in
its construction, as well as
just this sort of heft and
weight of how much time is given
to this particular
beat in the show.
>> GREEN: You say monolithic,
and yet one of the fascinating
things about the construction --
which you don't find a lot in
Rodgers' music.
Maybe in "South Pacific"
to some extent -- and in
Hammerstein's way of shaping the
scene, is that it is built
around lots of different cells,
musical and also emotional.
And we're gonna talk about and
sample some of each of those.
Where does it begin?
Where does this scene
actually start?
What is the setup?
What has just happened?
>> MUELLER: Two young mill
workers go out for a night on
the town, basically,
and we go to the carousel
that's visiting.
And we see the barker,
Billy Bigelow,
and we have a little
altercation with
the lady that owns the carousel.
She basically chases us out.
So this scene happens almost
directly after we've been chased
out of the woods by Mrs. Mullin.
All of a sudden, Billy shows up,
and he says, "All right,
let's hang out.
Which of you would
like to stay with me?"
>> GREEN: [ Laughs ]
>> HENRY: And Julie is the one
that emerges and decides that
she wants to stay.
>> HASKINS: And we know that,
"Uh-oh. This is trouble."
>> MUELLER: Well, you've just
lost your job -- spoiler alert.
>> HENRY: I've just lost my job.
>> MUELLER: I basically
lost my job 'cause I said
I'm gonna stay.
>> HASKINS: Yeah.
>> MUELLER: And at that time,
we talk about it in the scene,
if I work at this mill, I also
live there in the boarding
house, so if I don't get home by
the time the doors are closed,
I'm out of a job.
I'm out of a place to live.
So the stakes were
very high for everyone,
but also very exciting.
>> GREEN: So, the beginning is
kind of flirtatious.
>> MUELLER: Mm-hmm.
>> GREEN: Maybe I'm wrong,
but it feels like the initial
flirtation is coming from Billy.
At least in terms of the
dialogue.
I don't know what's going on
in terms of the emotions.
>> HENRY: Yeah.
I think Billy is "on the prowl,"
so to speak.
I mean, he's --
>> GREEN: Always.
>> HENRY: Yeah.
You know, he steps away
from the carousel.
And so, on a night like this,
we're seeing what we can
sort of get away with.
>> HASKINS: And don't you think
Billy's done this before,
whereas Julie Jordan has not?
>> HENRY: For sure. For sure.
>> HASKINS: Yeah.
>> GREEN: Well, so let's hear
the bit of music and the
introduction to this so-called
bench scene, in which
we hear the beginning of this
flirtation.
>> BILLY: Tell me somethin'.
>> JULIE: Hm?
>> BILLY: Ain't you
scared of me?
[ Music plays ]
I mean, after what the cops said
about me taking money from
girls?
>> JULIE: No, I ain't scared.
>> BILLY: [ Scoffs ]
That your name? Julie.
Julie something.
>> JULIE: ♪ Julie Jordan
>> BILLY: [ Whistling ]
♪ You're a queer one,
Julie Jordan ♪
♪ Ain't you sorry that you
didn't run away? ♪
♪ You can still go
if you wanna ♪
>> JULIE: ♪ I reckon that
I care to choose to stay ♪
♪ You couldn't take my money
if I didn't have any ♪
♪ And I don't have a penny,
that's true ♪
♪ And if I did have money,
you couldn't take any ♪
♪ 'Cause you'd ask and I'd
give it to you ♪
>> BILLY: ♪ You're a queer one,
Julie Jordan ♪
♪ Ain't you ever have a feller
you give money to? ♪
>> JULIE: [ Chuckles ] No.
>> BILLY: ♪ Ain't you ever
had a feller at all? ♪
>> JULIE: No.
>> BILLY: ♪ Well,
you must've had a feller
you went walking with? ♪
>> JULIE: Yes.
>> BILLY: ♪ Where'd you walk?
>> JULIE: ♪ Nowhere special
I recall ♪
>> BILLY: ♪ In the woods?
>> JULIE: No.
>> BILLY: ♪ On a beach?
>> JULIE: No.
>> BILLY: ♪ Did you love him?
>> JULIE: No!
Never loved no one.
I told you that.
>> BILLY: [ Chuckles ]
You're a funny kid.
You want to go out on the town
and dance, maybe, or --
>> JULIE: No.
I have to be careful.
>> BILLY: Of what?
>> JULIE: My character.
Well [Sighs] you see,
I'm never going to marry.
♪ I'm never going to marry
♪ If I was going to marry
♪ I wouldn't have to be
such a stickler ♪
♪ But I'm never gonna marry,
and a girl who don't marry ♪
♪ Has got to be much more
"partickler" ♪
[ Laughter ]
>> HENRY: Bam.
>> GREEN: You know, let's start
at the beginning of that.
"You're a queer one,
Julie Jordan."
That's not the first time we've
heard that phrase musically or
lyrically in this show.
It was sung earlier
by another character.
>> MUELLER: Yeah, the character
Carrie Pipperidge.
So, Julie's best friend,
the two girls that are sort of
in the woods together,
being like, "What do we do?"
>> GREEN: So, that's one of the
motifs that we were talking
about that we hear, but that
section that you just sang has
three or four different cells
that will recur again in the
song.
Maybe, Andy, you can speak to
how Rodgers did the job of
fitting them together so that
they don't sound like 10
different things, but one thing.
>> EINHORN: Actually, I think
there was a real, definite
homage to the operetta tradition
in the construction of a lot of
the pieces in this show,
because where something like
"South Pacific" or
"Sound of Music," you saw a
definite 32-bar song structure,
and this is actually defying
that, especially in this intro.
And the geek, the musical geek
in me is so fascinated by this
very beginning of the section,
because, interestingly, he keeps
actually raising the tension
through these characters
flirting with one another
actually by raising the key.
So, actually, you have that
first key that they're sitting
in, G major, and then as each
one of them raise one another,
it ends up going up a half step,
until a certain point where --
What I love about Julie is she
keeps cadencing the phrases.
>> GREEN: Can you demonstrate
kind of what "cadencing" means?
>> EINHORN: Absolutely.
>> EINHORN: For instance,
when he sings
♪ You can still go,
[Rising pitch] if you wanna ♪
She sings, ♪ I reckon that
[Falling pitch] I care to choose
to stay ♪
>> GREEN: So she brings it back.
>> EINHORN: Putting a
button on it.
But it's a rather sort of
classical, almost Mozartean
tradition to say, "I'm gonna go
in [Plays chords] 2, 5, 1"
and put this button on it so
that it gives it a sense of
actually grounding so that she
can go on with her thought.
>> MUELLER: Mm-hmm.
>> GREEN: One of the other
things I love in this, while
we're getting all geeky-techy,
is, there's a wonderful kind of
worm-turn figure, a chromatic
thing that goes on that really
literally ratchets up the
tension on those lines like...
>> EINHORN: Yeah, when he sings,
♪ You're a queer one,
Julie Jordan ♪
♪ Ain't you ever had a feller
you give money to? ♪
>> MUELLER: "No." She goes down.
>> EINHORN: And I think what's
really interesting is it's that
sort of sinewy nature of really
getting under her skin.
>> MUELLER: Mm-hmm.
>> GREEN: And does the music
help you find what's going on
in that moment?
>> HENRY: It really forms the
flirtation there.
You know,
the real question there.
I mean, no one really wants to
give away their hand, you know.
>> MUELLER: Right, right.
>> HENRY: So,
what are you about?
And that chromatic question
in the music really informs
what I have to do.
>> EINHORN: I think it also ends
in a very fascinating way,
'cause once you've asked the
three questions, you say,
"In the woods? On a beach?
Did you love him?"
You get one more iteration,
which allows her to go to her
next beat by going
[Plays rising scale]
"Never loved no one.
I told you that."
So you're already
ready for the next beat.
So it's this very interplay
between sort of how the dialogue
and the music are coming in and
out of one another, and they're
also weaving together.
>> GREEN: We're gonna maybe skip
a little here.
There's one of the motifs coming
up, also heard earlier in the
show, brings us into the
question of, what would it be
like if you fell in love?
And I've always thought of this
as the sound of the loom.
>> EINHORN: It is.
>> MUELLER: That spinning,
that whirring.
>> EINHORN: That repetitive,
swirling figure.
>> GREEN: Can you...?
>> EINHORN: Sure.
>> GREEN: Favor us with it.
>> EINHORN: [ Playing
bright melody ]
It's this idea of this
sort of -- [ Music stops ]
It's musically painting
the sound of the loom.
>> GREEN: And can we hear what
Julie is singing?
>> MUELLER: The little section
that goes into the chirp.
>> EINHORN: Yes. Yeah.
[ Playing bright melody ]
>> JULIE: ♪ When I worked in the
mill, weavin' at the loom ♪
♪ I'd gaze absent-minded
at the roof ♪
♪ And half the time the
shuttle'd tangle in the
threads ♪
♪ And the warp would
get mixed with the woof ♪
♪ If I loved you
>> BILLY: But you don't.
>> MUELLER: And she says,
"No, I don't."
>> GREEN: So, we get the name of
the song...
[ Laughter ]
>> MUELLER: Right?
You set the idea up.
>> HENRY: What's happening in
the music.
>> GREEN: Then seem to pull back
from it.
>> MUELLER: Yeah.
>> GREEN: And then we get a
chorus.
>> MUELLER: The delight and the
trick is, for me, to sort of,
like, slip it in and not feel
like you're announcing a song.
>> GREEN: So let's hear that.
>> JULIE: ♪ But somehow
I can see ♪
♪ Just exactly how I'd be
♪ If I loved you
♪ Time and again,
I'd try to say ♪
♪ All I'd want you to know
♪ If I loved you
♪ Words wouldn't come
in an easy way ♪
♪ Round in circles I'd go!
♪ Longin' to tell you,
but afraid and shy ♪
♪ I'd let my golden chances
pass me by! ♪
♪ Soon you'd leave me
♪ Off you'd go
in the mist of day ♪
♪ Never, never to know
♪ How I loved you
♪ If I loved you
>> HASKINS: Ah! [ Applauds ]
>> MUELLER: And I think she ends
it on a, "Oh, God.
I've said too much," you know?
[ Laughter ]
She kind of goes, "Oh, wait.
I mean if I loved you."
One of the things Jack O'Brien
was so helpful with in rehearsal
was with me, and we were talking
about Julie, and he just
kept talking about the
immediacy of her.
She's so kind of, like,
right there.
And it's interesting,
the thing I also love about this
scene, is just how frank they
are with each other.
They're strangers.
And they have so much to risk.
Possibly so much to gain,
but also maybe so much to lose.
But they're just so open with
each other, sort of shockingly
so in the things that they
say to one another.
And then, like we were saying,
this lyric gets introduced
about, "If I love you,"
this idea, and she says what she
thinks it would be like.
And then Billy
takes on that lyric.
And to me it's just that
wonderful moment of, you look at
someone and you go,
"Oh, my God. I'm not alone."
Like, "You think about it the
way I kind of think about it.
Maybe I'm not crazy."
>> GREEN: Well, and that is
really underlined after you
sing your chorus.
We then get more of the operetta
development of the scene,
using, again, many of these same
cells, with one big additional
one, this time mostly from
Billy's point of view.
>> EINHORN: This is actually one
of my favorite parts of the
bench scene, when we get this
unlocking of who Billy is.
It's sort of when we realize
that Billy's actually a poet
inside, and it goes to that
great Hammerstein place where
the imagery becomes about the
sky and the sea and how we're
all meeting together.
But I think it's a really
interesting, very worldly view
for a character that, up to this
point, we've not seen anything
like this out of him.
>> GREEN: Well, let's recall
that it is drawn from a play by
Ferenc Molnár that is very
cosmic and philosophical.
>> EINHORN: Absolutely.
>> GREEN: And beautifully
condensed into, what, this
32-bar section here,
which we'll hear.
>> EINHORN: Yes. Sure.
[ Music plays ]
>> BILLY: ♪ You can't
hear a sound ♪
♪ Not the turn of a leaf
♪ Nor the fall of a wave
hittin' the sand ♪
♪ The tide's creeping up
on the beach like a thief ♪
♪ Afraid to be caught
stealin' the land ♪
♪ On a night light this,
I start to wonder ♪
♪ What life is all about
>> JULIE: ♪ And I always say
two heads are better than one
to figure it out ♪
[ Song ends ]
>> MUELLER: [ Chuckles ]
>> GREEN: So, and we heard you
again cadencing.
>> MUELLER: Here comes Julie and
her cadencing.
>> EINHORN: Exactly.
>> GREEN: Right before this,
we get a figure.
Right before the,
"Ba-da, ba-da, bum, bum."
>> EINHORN: Oh, yeah.
>> GREEN: That becomes
important later.
>> EINHORN: It's the
blossom music, yes.
[ Plays discordant melody ]
>> GREEN: Jumping ahead, we go
through -- Billy has that cell,
and a few more that are also
based on -- and then we get to
the loom theme again, only now
from your point of view,
with a different story
of what love would be...
>> HENRY: Mm-hmm.
>> GREEN: ...and the main
chorus, second chorus
of the song.
So let's hear the final chorus.
>> MUELLER: Sure.
>> BILLY: ♪ But somehow
I can see ♪
♪ Just exactly how I'd be
♪ If I loved you
♪ Time and again
I would try to say ♪
♪ All I'd want you to know
♪ If I loved you
♪ Words wouldn't come
in an easy way ♪
♪ Round in circles I'd go!
♪ Longin' to tell you,
but afraid and shy ♪
♪ I'd let my golden chances
pass me by! ♪
♪ Soon you'd leave me
♪ Off you would go
in the mist of day ♪
♪ Never, never to know
♪ How I loved you
♪ If I loved you
>> GREEN: Wow. And there's --
[ Laughs ]
>> MUELLER: I get to listen to
that every night.
[ Laughter ]
Just stand there and be like...
>> HASKINS: That was so
astonishingly wonderful.
I can't begin to react.
We're just overwhelmed.
>> MUELLER: She's done.
She's like, "Fa-fa-fa-fa-fa-fa."
>> GREEN: One quick final
question.
Is it possible, can you ever get
tired of singing that?
>> HENRY: No.
>> EINHORN: No, I think
it's the greatest.
>> MUELLER: Maybe physically,
but I don't think [Laughs]
emotionally, no.
>> EINHORN: It's interesting how
many times this song ends up
appearing throughout the show --
in the ballet, and then in the
reprise at the end.
And yet it just seems to
continue to strike this great
emotional chord, pun intended.
>> MUELLER: Yeah, right?
It's this mighty theme
that keeps coming back.
>> EINHORN: Absolutely.
>> MUELLER: And, no, I mean,
for me, as a singer and an
actor, it's such a blessing to
have stuff like this, 'cause you
can continue to dig and find
things and...
And when you get to do something
like this and play off of
someone, and play off of
someone like Josh,
that's half the fun of it.
It's like,
"What's gonna happen tonight?"
>> HENRY: It's different
every night.
>> MUELLER: Yeah.
>> HASKINS: I just want to thank
you all so much for taking
your time to come over here
today and do this.
>> GREEN: And perform tonight.
>> MUELLER: Thank you
for having us.
This was fun.
>> HENRY: Jessie Mueller,
back again.
Thank you so much.
Joshua Henry and Andy Einhorn,
thank you so much.
Jesse Green, thank you so much.
>> GREEN: Thank you, Susan.
>> EINHORN: Thank you.
>> HASKINS: Can't get any
better than that.
Joining me now is my co-host
Jan Simpson of BroadwayRadio.
And we are so happy to be joined
by director George C. Wolfe,
who has helmed the most
remarkable and wonderful
production of
"The Iceman Cometh,"
which is now on Broadway.
George, congratulations
on this production.
>> WOLFE: Thank you very much.
Thank you. Thank you.
>> HASKINS: It stars
Denzel Washington
in the lead role.
A wonderful cast you've
assembled.
>> WOLFE: Extraordinary cast of
people.
>> HASKINS: Do you think
everybody out there in our
audience knows this play, or you
have to tell them about it?
>> WOLFE: I'll tell them a
little bit about it.
>> HASKINS: All right.
>> WOLFE: It's set in this bar
that's run by Harry Hope.
It's all these people
live there.
It's set in 1912.
And all these people are waiting
around for Hickey to show up,
because once or twice a year,
he shows up with money, and he
buys drinks for all these
people.
And they're all derelicts and
bums with very limited means.
And they assume that when he
shows up this time, it's going
to be just like it is -- singing
and laughing and jokes, and
being drunk forever and ever.
And then he shows up, and he
decides he's going to save them,
and he's going to save them and
expose them to the lies and the
illusions and the pipe dreams
that have haunted them their
entire lives.
>> HASKINS: How much of this
play do you feel is about
alcoholism, and how much of this
play -- 'cause they're all a
bunch of drunks.
>> WOLFE: Yes.
>> HASKINS: ...and how much of
this play is about people
masking their illusions?
>> WOLFE: I think it's without
question about people masking
their illusions, and the
function that alcohol plays is
that it numbs you from the rage
that you feel inside.
And so what ends up happening
when Hickey shows up and starts
to expose them to themselves,
their fear sets in,
and they stop drinking,
and as a result all these truths
and anger and frustrations
and loss and defeat begins to
come to the surface.
So, to me, the play is,
liquor is the great numbing
impact on your spirit.
But it's really about that
balance of truth and lies,
and what proportion is healthy,
and what proportion
drags you under.
>> SIMPSON: This play is famous
for being very long.
But your production really moves
quite fleetly.
Part of that is your direction,
but part of it is that you made
some cuts.
>> WOLFE: I don't
call them cuts.
I call them snippets.
>> SIMPSON: [ Laughs ] Okay.
>> WOLFE: No, just because I
wanted to create an incredibly
muscular production.
I wanted to create one that had
a very assaultive energy.
Assaultive with comedy,
assaultive with pain,
assaultive with pathos.
A physically very aggressive
production because, once again,
the play begins, and they're
looking for the liquor.
And Hickey shows up, and he
provides them the the liquor,
but they're unsettled, so
everything, every single thing
that is unresolved about them
is coming to the surface.
And when that process is
happening, that's not a casual
process.
It brings out a kind of rawness,
a desperation, an anger and a
rage, and a sense of violation.
And so, to me, that was
a strong clue as to
what the play was about.
And also one of the things
that's really interesting to me,
O'Neill, all of his earlier
work, he was experimenting
with form.
>> HASKINS: Yes.
>> WOLFE: He was doing very
stylized plays.
He was doing very epic plays.
And then there's this assumption
that, therefore, he then matured
and then wrote "Iceman Cometh"
and "Long Day's Journey
Into Night."
And I disagree with that
violently.
I think that every single play
that he ever wrote,
stylistically, is present
in "Iceman Cometh."
So to me, all of those became
really interesting rhythms and
dynamics, which I wanted to
explore and put inside of
"Iceman Cometh."
Not create a
reverential production,
but one that had a vibrancy
and an intensity of the
young man that he was in 1912.
>> HASKINS: When this play first
opened, it was what -- 1946?
>> WOLFE: Yes.
>> SIMPSON: Mm-hmm.
>> HASKINS: It was a failure
in many senses.
And people said, for one thing,
"It's too long and too dark,"
too depressing right after
World War II.
>> WOLFE: Mm-hmm.
>> HASKINS: But now don't you
think it's in sync with our
times very much so?
>> WOLFE: One of the things that
I think is so vital and so
important about the play,
it's, what do you hold on to
when hope appears to be
vanished?
>> HASKINS: Mm-hmm.
>> WOLFE: And we're all asking
those questions.
We're all asking.
And also, as I said earlier,
what degree of truth and lies
do we each need to allow
ourselves to wake up each
morning to go forward?
Because we all do that
balancing act every single
day of our lives.
If there's too much truth, it
can be startling and
overwhelming.
If it's too much lies, we're
disconnected from reality.
>> HASKINS: Now, I have to ask
you all, Denzel,
African-American man playing
this part that was obviously
written for a white man,
as did James Earl Jones.
And that means nothing.
But then in there,
there's the other character --
>> WOLFE: Joe Mott. Yes.
>> HASKINS: Yes. Joe.
...who is being racially
assaulted, and to me, it's just,
"Well, that's the way
it's cast."
But is there any other thinking?
>> WOLFE: Well, there was a very
specific thinking, just in the
sense that, to me, New York,
still to this day, but back
then, is a series of tribes.
And so racial and ethnic slurs
are hurled at each other.
Hickey is showing up with means,
with money.
He is of the world.
Nobody's gonna waste time
attacking him
when he's providing them
with money and liquor.
And also there's an interesting
story that Joe Mott, the
character, tells, played by the
brilliant Michael Potts,
where, when he tried to open up
his saloon, he asked Harry Hope
to sign a letter saying
that he was white.
Now, in that connotation,
he means white in
the sense that "You're gonna
play with us economically.
You're gonna bribe the police
for us, so that therefore
we won't put you out of
business," right?
So, one of the things that I
love about the play, which is
incredibly sophisticated for
O'Neill's thinking -- he's
viewing "white" not as a
definition of race, but as a
means of playing along with the
system -- So, if you give,
you will get -- which is an
incredibly sophisticated --
It gets a big laugh, but an
incredibly sophisticated thought
process when you think about
this character is saying this in
1912, written by a playwright
who wrote it in 1944.
>> HASKINS: Also, how prescient
he was about addiction and
alcoholism, and how it was
going to overtake us.
I mean, obviously it was
bringing people down
when he wrote it.
>> SIMPSON: It certainly
afflicted his family.
>> WOLFE: It's also interesting
that Hickey talks about his
father, and one of the things
that Denzel, we talked a lot
about -- he talks about his
father, but he doesn't mention
the mother, whereas Perry's
story line is nothing but about
his mother.
'Cause I think he was building
up the courage to write
about his mother in
"Long Day's Journey."
>> SIMPSON: Is this your first
O'Neill play?
>> WOLFE: Yes.
>> SIMPSON: Mm. Is O'Neill a
playwright that had
interested you before?
>> WOLFE: Absolutely 100% no.
And now I am completely and
totally in love, because one of
the things that he does so
brilliantly is, when you read
it, you don't realize how
astonishing he's captured
American vernacular,
how astonishing he's captured
New York vernacular.
The rhythm of his language
is so brilliant and smart and
incisive and challenging and
demanding and full of vibrancy
and life and need.
And so I would read it and I
would just go,
"Okay, yeah, I get it.
Yeah, it's hard. It's rough.
Yeah, I get it."
But now you read it, and when
you start to animate it, you
realize how thrilling it is.
It's intimate.
It's vaudevillian. It's epic.
It's surreal. All of that.
And he's playing with all of
these extraordinary rhythms.
So, you know, I went from going,
"Yeah, yeah, yeah. O'Neill."
to "Oh, my God!
Can I go on another date?"
You know what I mean?
He is a great, great
American writer.
>> HASKINS: It truly is
the great American play.
It's now at the Jacobs Theatre.
George C. Wolfe, you've very
justifiably been nominated for a
Tony Award for this, along with
Denzel Washington
and David Morse.
>> WOLFE: And the designers.
Every single designer.
>> HASKINS: Wonderful.
>> WOLFE: Yes.
>> HASKINS: It's wonderful.
All right. Thank you so much,
Jan Simpson.
A pleasure, as always.
Thank you, everyone.
>> WOLFE: Thank you.
>> HASKINS: Our thanks to the
Friends of "Theater Talk"
for their significant
contribution to this production.
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