>> HASKINS: Coming up on
"Theater Talk"...
>> GREEN: Did you have trouble
finding the places where people
would sing?
They're not in typical places
that we learn about in
musical-theater school or from
other musicals.
>> YAZBEK: Right. Yeah. When I
teach, like, a master class,
it's usually me saying,
"What? Who told you that?"
You know?
♪♪
>> DINA: ♪ Stick a pin in a map
of the desert ♪
♪ Build a road
to the middle of the desert ♪
♪ Pour cement on the spot
in the desert ♪
♪ That's Bet Hatikva ♪
♪ Welcome to nowhere ♪
>> HASKINS: From New York City,
this is "Theater Talk."
I'm Susan Haskins, and I want to
welcome my guest co-host,
Jesse Green of
The New York Times.
>> GREEN: Thank you, Susan.
>> HASKINS: Jesse.
>> GREEN: We're here today to
talk about one of the big shows
of the fall, "The Band's Visit,"
and joining us are the authors
of the musical, the...
Shall we call you
composer-lyricist or songwriter?
>> YAZBEK: You know, songwriter
feels better to me.
>> GREEN: The songwriter, then.
David Yazbek.
And what on earth do we call
you?
Book writer?
Librettist?
Not really a librettist.
>> MOSES: No, book writer is, I
think, accurate.
>> GREEN: All right, the book
writer, Itamar Moses.
Thanks for joining us.
>> MOSES: Thanks for having us.
>> GREEN: Have to begin by
talking about what drew you to
this material.
It is... I think everyone will
say in the reviews and many
people already said in the
reviews when it was done
Off-Broadway earlier this year
at the Atlantic Theater what an
unusual musical it is, what
unusual source material it is,
by which I think they mean it's
really good.
[ Laughter ]
So, um, let's start with that.
Were you familiar with the film
before anyone came to you to --
>> HASKINS: And it's 2007
Israeli film, right?
>> GREEN: Right.
>> MOSES: Yeah, I think both of
us know of the film, but I think
this is right, that neither of
us had seen it.
I'd heard of it.
I was aware of it.
But I watched it for the first
time when our producer,
Orin Wolf, who had acquired the
stage rights, contacted me and
said he was trying to put
together a team to adapt it.
So, I watched it with that in
mind, and I think that's true
for you as well.
>> YAZBEK: Yeah.
It was like a gift.
>> HASKINS: So, this was Orin's
idea to make it a musical.
>> YAZBEK: Yeah, from the very
beginning -- Orin saw the movie
years before we were on it
and saw it as a stage piece.
And then he saw it as a musical.
>> GREEN: Were you surprised
after you saw it that he
wanted to make it into a
musical, not just because of its
inherent literary qualities but
also whether there was any
possibility of making money
off of it?
He is, after all, a producer.
>> YAZBEK: Yes. Yes on the
second one.
[ Laughter ]
I wasn't used to producers who
had such a creative and
sensitive heart.
So it did surprise me that he
thought he could make money.
>> MOSES: Yeah.
>> YAZBEK: But it didn't
surprise me that he thought it
could make a really deep
musical.
>> MOSES: Yeah, I agree with
that, that it spoke...
I thought it spoke well of him
that he even suggested it.
I was drawn to it...
First of all, there's a very
organic reason for there to be
music in the show, which is that
there's a --
>> GREEN: Well, this is a good
moment to say what the play's
about.
>> MOSES: Yeah. So, the story of
the film, and it's preserved in
the musical, is about an
Egyptian police orchestra that
is sent to Israel to give a
concert for the opening of an
Arab cultural center in one of
Israel's major cities, but
because there's a
miscommunication at the bus
station, they, instead of going
to the city they're supposed to
go to, end up at a tiny town,
village, in the middle of the
desert where there's no more
transportation for the rest of
the night, and they're stranded
there, so the story is just
about these Israeli locals in
this desert town taking in these
Egyptian musicians for one
night.
♪♪
>> You know what, General?
You can stay here with us
tonight if you want to.
>> No, no.
You have done too much already.
♪♪
>> Okay.
>> MOSES: And everything that
sort of transpires --
>> HASKINS: Was this a fantasy
of the filmmaker?
The story?
>> MOSES: No. Oh, is it based on
a real event?
Yes. I don't think it's based
on any real event.
I think it's completely
invented.
I thought you meant, was it a
fantasy of his to have it be a
Broadway musical?
[ Laughter ]
And that's what I was saying no
to.
That was more like... Orin had
to approach him several...
It was like converting to
Judaism.
He had to approach him several
times, be turned away --
>> GREEN: Although I think you
were telling me that the movie
in Israel is considered a
beloved property --
>> MOSES: It is.
I mean, there's...
You know, the Ophir Awards, I
think they're called, is the
Israeli equivalent of the
Oscars, and it won like eight of
them.
Yeah, it was one of the biggest
hits in the history of Israeli
cinema.
>> GREEN: So the fact that it's
about a group of musicians
in part makes it, you know, a
possible idea for a musical,
although not everything that has
musicians in it should be made
into a musical, I quickly add.
But nevertheless, it's not
something if you see the movie
or if you just read the story in
outline that screams
"Broadway musical" or even
really "Off-Broadway musical."
So --
>> YAZBEK: It doesn't scream
anything.
>> GREEN: It doesn't scream
anything, exactly, so...
was there ever any thought,
whether from within you or
pressure from anywhere else,
to expand the sort of range of
volume of the material?
>> YAZBEK: When we first spoke,
we kind of agreed that we...
neither of us wanted to do that.
Like, the concept of expanding
the volume of it wasn't
interesting to us.
What interested me about the
movie was that it was one of
those movies that had a bigger
impact on me than something that
was louder and more violent
because it drew me into this
world, and that's what we wanted
the show to do as well.
Of course, as soon as you have
songs, you're doing something
different, but you're...
what I think you're doing is
something you can do in a movie
that's harder to do onstage if
it's not a musical,
which is draw someone in to a
character that... It might be a
close-up in the movie.
It might be something small
about a gesture, a facial
expression, and a song can sort
of bring you close to a
character's emotion.
>> HASKINS: Did you conceive it
initially to be in a small house
like the Atlantic Theater, where
it began?
>> YAZBEK: As soon as anybody
starts thinking about Broadway
as opposed to about the best
production of this show, which
the first production was
Off-Broadway, we'd be in
trouble, and I remember saying,
"If we can make this perfect
for the small theater, we're not
going to have to worry about
Broadway.
If people respond to it
emotionally, it'll...
that'll take care of itself."
>> GREEN: I want to go back,
though, to the apparent cue from
the fact that they are musicians
to making it into a musical.
In the end, very little of the
music in the musical is tied
into the performance
by the musicians.
I mean, there's instrumental
music and scene changes and
things like that that are very
powerful and convey a lot of
information, but most of the
singing has been created for
characters not in their position
as musicians.
And as you say, in order to
provide the equivalence of
close-ups and emotional moments
onstage, most of the songs
are written
for the characters per se.
>> MOSES: Yes. What I would say,
to get more specific than simply
the fact that there is a band in
the show, that's the most
literal sort of surface level on
which it lends itself to being
in a musical, but actually, I
think what I mean is more that
that's the window into the fact
that music is one of the central
metaphors of the piece.
Yes, we have live musicians
onstage literally playing music
very well.
But...what I was drawn to when I
watched the movie and why I
thought Orin might be onto
something was that the way in
which music and musicians and
conversations about music are so
endemic to the story --
they're using -- it's one of the
main, like, currencies with
which the people transact with
one another.
It's one of the things they
bond over.
It's a language that transcends
speech.
>> GREEN: Well, so, for example,
the plot, aside from the...
situation you described,
involves, among other things,
the leader of the Egyptian band,
orchestra, "Tu-feek," or
Tewfiq?
How do you pronounce the name?
>> YAZBEK: Tewfiq.
>> MOSES: Yeah, I think the
Arab pronunciation is more
Tewfiq, but then the Israelis
say "Tu-feek."
>> HASKINS: Who's Tony Shalhoub.
>> MOSES: Played by
Tony Shalhoub, yes.
>> GREEN: Who is put up for the
evening by one of the Israeli
residents, a character named
Dina, who's played by
Katrina Lenk, and it becomes
clear pretty quickly that
there's some kind of potential
romantic interest, which the
musical is going to explore,
not in the way that you usually
expect such interest to get
explored in a musical.
So, as you're waiting for that
to happen, you realize that
music is serving the function of
dramatizing things that they
cannot in fact say to each
other.
In the subplots, the same kind
of things happen -- people who
either don't have a language to
speak to each other very well,
since the Egyptians don't speak
Hebrew -- they speak English --
and the Israelis speak English,
but neither of them all that
well -- music becomes the way in
which they communicate.
>> MOSES: Yeah. I mean, it's one
of the things that attracted me
to it.
The movie, of course, happens
in the same three languages, but
there are subtitles.
And when I watched it, I
thought, what a great sort of
theatrical game to play with the
audience, where, when the
Israelis are speaking amongst
themselves, they'll mostly speak
Hebrew, when the Egyptians are
speaking amongst themselves,
they'll mostly speak Arabic, but
the shared language is English.
So that would force me as a
writer to make sure that all of
the most important conversations
that take place are the
cross-cultural ones,
and that when something is in a
language that much of the
audience might not understand,
there's enough sort of context
that we don't really need to
understand it, so --
>> YAZBEK: There's another thing
in terms of connecting with the
audience -- when you have these
Hebrew speakers, these Arab
speakers speaking in English,
and it's sort of halting, you
get this little bit of tension
because, you know, you can put
yourself in their shoes.
But when they start singing, you
feel so close to them
because you have the music...
It's connecting an audience
member with the character, and
then you get the sense of a
universal connection -- audience
and the people onstage.
>> MOSES: And that was something
that was in our very first
conversation about it, that,
like, the reason to make it a
musical was that you could drill
down into and explore the sort
of vast spaces inside of these
people.
>> GREEN: But even so, did you
have trouble finding the places
where people would sing?
They're not in typical places
that we learn about in
musical-theater school or from
other musicals.
>> YAZBEK: Right. Yeah. When I
teach, like, a master class --
>> GREEN: You teach a master
class?
>> YAZBEK: Well, when I do,
like, at BMI, you know, or when
I go to a college and teach
or something like that,
it's usually me saying,
"What? Who told you that?"
You know?
Like, what you're saying?
So, but in this show, it was
kind of a subtractive process.
In other words, I hit a lot of
walls.
We all did.
I mean, you know, sort of --
>> MOSES: Mostly you, but --
>> YAZBEK: But mostly me, yeah,
as usual.
You know, literally songs that
just, I don't know why I even
tried, you know, like, "Why do I
have this character singing?"
Well, because we thought it
might work.
Didn't work.
>> HASKINS: So you wrote a lot
of songs that didn't come into
the show?
>> YAZBEK: Yeah. I always do.
>> HASKINS: You always do?
>> YAZBEK: But with this show,
with how sort of different this
show is, I learned lessons
fairly quickly.
>> GREEN: As a specific example,
this character of Tewfiq, who
carries with him a burden
that we don't quite understand
for most of the show, but it's
clearly a powerful sense of
grief or loss, he is the main
male character and the other
half of the romantic center of
the piece, and yet for the
longest time he sings not a
word.
And then when he does, we don't
understand it
because it's in Arabic.
And he never, to my knowledge,
sings in English.
>> MOSES: Never.
Yeah, that's true.
>> GREEN: So, did you fiddle
with that?
Were you thinking, "Yeah, we
need to give him a song in
English so that the audience
will understand what he's going
through"?
>> YAZBEK: I think I wrote three
songs that I threw away.
I mean, I wrote songs for him to
describe what he's feeling as
he's looking at this woman who
clearly is getting something
moving in him that has been
asleep for a long time.
Pretty good songs, too.
You know, sort of moving songs
that came from my heart.
But --
>> GREEN: Do you remember the
names of any?
>> YAZBEK: One was called --
>> MOSES: "Look at Her."
>> YAZBEK: "Look at Her."
>> HASKINS: That might have been
too much, "Look at Her."
I mean, the fact that he isn't
singing in English is so
powerful because you're getting
it from the way --
>> YAZBEK: Well, that's what we
came to.
>> MOSES: We arrived at.
>> YAZBEK: This is a quiet
character, who holds a lot of
life inside him -- joy, pain,
you know, like, a lot of
history.
And having it come out in a
silent -- Miles Davis --
"In a Silent Way" --
in a silent way, a cappella,
in Arabic, is so much more
effective than all of those
songs put together.
>> HASKINS: And you contrast it
with the big, younger, sexy --
more sexually aggressive man,
who would be more
like singing "Look at Her."
I mean the fact that there's the
contrast between the way two men
approach strange women.
>> GREEN: So, in one of the
subplots, one of the members of
the orchestra helps a nudnik
Israeli guy who doesn't even
know how to talk to a woman --
>> YAZBEK: Based on Itamar.
>> GREEN: Oh, is this
autobiographical?
>> YAZBEK: No.
[ Laughter ]
>> GREEN: You're not Israeli.
>> HASKINS: Thanks, David.
>> GREEN: Your parents are
Israeli.
>> MOSES: My parents are
Israeli. Yeah.
>> GREEN: This Egyptian musician
helps him figure out how to
approach this girl that he's
interested in.
>> YAZBEK: Yeah.
>> GREEN: And there we get the
kind of song that we cannot get
from the other character.
>> MOSES: Yeah, as David said,
we tried a few songs in the show
for Tewfiq, solos, but the
conclusion we were forced to
come to was that this is a guy
who's frozen -- there's a wall
in him at the beginning of the
show, and the journey is towards
maybe the very first cracks
appearing in that wall by the
end because of the journey
he goes on.
And so there was no conclusion
we could reach other than the
version of Tewfiq who could sing
a big solo about his feelings in
the middle of the show wouldn't
need to go on the journey that
the show is taking him on.
And that paradox sort of left
us in a place where we had to
hold back his singing for as
long as possible.
>> GREEN: And yet you were never
tempted to have him break
through so completely that by
the end he had a dance number
and they waltzed off into the
Negev sun.
>> YAZBEK: If you ever saw
Tony Shalhoub tap-dance, you'd
see that we were tempted, but --
>> MOSES: Very tempted.
We had to let it go.
>> GREEN: Let's talk a minute --
Itamar, you can take a break.
David, let's talk a minute about
the music itself.
How careful were you in your
planning and thinking about the
show to create a realistic
Egyptian/Israeli sound world?
>> YAZBEK: You know, I'm very
not-careful about almost
everything that I do.
[ Laughter ]
But in this case, I did what I
always do, which is I become
interested in something, and I'm
immersed in it.
So I listened to a lot of
classical Arabic music, a lot
of contemporary stuff.
And I've always known that music
fairly well, but I just
listened and listened and
listened, hoping and pretty much
knowing that when I started
writing, it would
be there for me.
>> GREEN: And you yourself are
the child of a Lebanese father
and an Israeli/Italian mother,
so you --
>> YAZBEK: Not Israeli, but
Jewish, yes.
>> GREEN: I'm sorry.
Jewish Italian mother.
So you have some of those sounds
around you from your childhood.
>> YAZBEK: When I was young,
like 7 years old, I went to
Lebanon with my father for the
first time --
I went several times --
and have a distinct memory of
hearing my first taste of
orchestral Arabic music, and it
happened to be -- because I
asked the cab driver whose cab
we were in, "What is that
music?"
And it was Oum Kalthoum, who is
a very famous singer and still
is the most beloved -- almost
the female Frank Sinatra in
half the world.
>> HASKINS: Who you introduce
most people, like me, who never
heard of her, in your musical.
>> YAZBEK: Yeah, so there's a
song called "Omar Sharif
and Oum Kalthoum."
The Israeli character, the woman
is singing how this music came
to her from Egypt, which is not
very far from Israel, as we all
know, over the radio,
and just opened her up to
basically the culture and to
beauty.
And so I had this very stark
sense memory of hearing that
music for the first time.
>> GREEN: But beyond the fact
that you had knowledge of this
music and a kind of had it in
your soul in a way,
you were also interested in
making sure there was a certain
level of authenticity insofar as
bringing real musicians onstage
who could perform the kind of
music --
>> YAZBEK: Absolutely important.
I mean, also, if you're...
When you listen to this music,
you can't fake it.
You know, there's modalities,
and there's microtones, and
there's just ways of playing
that are very specifically what
they call oriental -- that's the
other name for Arabic classical
music, is oriental music.
There are just ways of hitting
notes.
There are ways of even tuning
your instrument, in the same
way that like a fado singer,
you know, or a flamenco --
>> HASKINS: What's a fado
singer?
>> YAZBEK: Fado is kind of a
Portuguese flamenco, almost.
>> HASKINS: Okay.
>> YAZBEK: There's an emotional
content underlying
what they're doing.
There's something about a lot of
Arabic... I mean, it runs the
gamut, but there's just
something deep culturally --
very universal, but in the same
way that you can eat like a
great Indian meal, and it'll
blow your mind, and you love it,
even though it's completely
exotic, that's how I've always
felt about oriental music.
>> HASKINS: And you've got
people there like that guy with
the beard who plays the...
Is it the cello he's playing?
>> YAZBEK: Yes.
>> HASKINS: Yeah, his look there
as part of the play --
>> MOSES: Oh, it's perfect.
We were like, "Don't shave
that beard.
Don't cut your hair," yeah.
>> YAZBEK: We loved him.
Garo Yellin is his name.
>> GREEN: Itamar, David wants to
have these real
authentic-looking and -playing
musicians, like, piling into
your story, and --
>> YAZBEK: [ Laughs ]
>> GREEN: Well, but there's a
lot of difficult givens that
come with this material from a
book-writing point of view.
You've got "How do you get
that band into the story?"
And if the director were here,
an even harder question --
"How do you get them onto the
stage?"
>> YAZBEK: Yeah, that's a good
question for him, yeah.
>> MOSES: It is, but I'll speak
for him.
>> GREEN: Speak for him
and also for yourself.
>> YAZBEK: Speak with his
accent and with his voice.
>> MOSES: Well, there's a couple
answers.
One is that in a way, givens,
even seemingly difficult
givens, are actually
not a problem because formal
constraints are the best thing
you can have as a writer.
There's nothing more paralyzing
than total creative freedom.
So, knowing that there were
certain... "Okay, I need to..."
But the real answer to your
question is, we said to each
other for a year, two years,
"Oh, it'll be so great.
The musicians will be onstage,
and so they can be scattered
around, and maybe they'll play
in this scene, and they can play
in this transition."
But we didn't actually know what
was going to happen or where we
were going to put them basically
until we were in, I'm going to
say, previews at the Atlantic.
Even in the rehearsal room at
the Atlantic, we would say,
"And maybe they'll be..."
But until we got into the space,
and, you know, there's a
turntable on the set --
>> HASKINS: Yeah. Whose idea was
the turntable?
>> MOSES: Cromer and Scott Pask,
the set designer,
we think riffing off of a lyric
early in the show where Avrum
sings, "Sometimes..."
>> GREEN: The lyric came first?
>> MOSES: ..."you're moving
in a circle."
>> GREEN: It gets a huge laugh
because --
>> MOSES: Because he's actually
moving in a circle.
>> YAZBEK: Yeah, but then
Cromer's and Scott's genius
about it was just... That
concept of moving in a circle
just became the way to
transition from scene --
>> MOSES: But we didn't have,
you know, a working turntable in
our rehearsal room at the
Atlantic, so until we physically
got into the space at the
Atlantic last year and started
trying to put people onstage and
how we revealed the musicians
for this or that transition, we
were learning...
It was a concept we had, but we
couldn't put it into practice
until we were in the space.
>> GREEN: And the bigger stage
at the Ethel Barrymore allows
you to really improve that even
more.
>> MOSES: Yeah. We have a lot
more entrances, for one thing.
We can bring people on.
>> GREEN: And you can see the
musicians better in certain
scenes that --
>> YAZBEK: Well, you can
actually...
Even though it's a bigger
theater, you can hear them
better.
The sound in the Barrymore and
the sound department that we're
working with is just amazing.
>> GREEN: I want to go back to
constraints that you were
talking about.
Itamar, you first became known
in New York, at least to me, for
a play called "Bach at Leipzig."
At? Or in?
>> MOSES: At.
>> GREEN: At. "Bach at Leipzig,"
which -- talk
about constraints --
>> MOSES: Right.
>> GREEN: This was a play about
the succession to the musical
leadership of a famous church...
>> MOSES: Yeah.
>> GREEN: ...in Leipzig, for
which six or seven great
organists applied.
>> MOSES: Correct.
>> GREEN: And Bach was the third
choice.
>> MOSES: That's true.
>> GREEN: And he does not appear
in your play.
>> MOSES: Also true.
>> GREEN: So the title
character, unless the title
character is the city, does not
appear in your play.
It sounds like you really do
appreciate giving yourself
tricky problems to solve.
>> MOSES: The gloss on that
play is that it was structured
like a fugue, which is kind of
true.
But it makes what I did sound
a lot harder than it really was.
That play is actually structured
like a particular kind of play,
a farce or a comedy of manners.
And all I did was sort of
structure a play that way
and then kind of point out
gently within the play that
there's something inherently
fugue-like about certain kinds
of dramatic structure.
But yeah, no, I took the...
in that case, I took the
pillars of a real historical
event, which is "Bach competed
with all these guys for this
job," and then in the event was
the third choice, which is
hilarious, you know,
but really reveals something
about the perspective of history
versus the perspective of the
present.
>> GREEN: So, when you come to
write a musical, and I think
this is your second musical --
>> MOSES: My third, actually.
>> GREEN: Your third.
So, coming from the position of
a playwright who can set his
own traps and evade them the way
he wants into a situation of
writing a book for a musical,
where basically you are a piece
of carrion for a vulture to come
and steal from --
>> MOSES: Yeah. Sure.
>> GREEN: And the vulture is
sitting next to you.
How's that feel?
>> MOSES: It's great,
counterintuitively.
If book writing were the only
thing that I did, I think it
would become creatively
frustrating to continually build
up to the great emotional peaks
of a story and then turn over
the execution of those peaks to
a composer, which is essentially
what you're doing
as a book writer.
But as a complement to writing
plays, to writing for television
and the other things I do,
it's just a different exercise,
a different part of your brain,
a different way of working with
someone to think...
I mean, structure is fascinating
to me, dramatic structure, and
book writing is more than about
dialogue or writing, you know,
reasonably good dialogue or
dialogue that sets up a song.
It's, on the deepest level,
simply about structure.
I remember, there was a whole
thing about "Hamilton" --
"Oh, well, should 'Hamilton' get
the Tony for best book?
There's no book."
Well, of course there is.
There's an incredibly
well-structured book.
The show just happens to be sung
through.
It's a structural question.
>> GREEN: And in that case, the
vulture ate every bone.
>> MOSES: Right.
[ Laughs ] Exactly.
But... So, as a way...
I find it...
And when musicals...
Also, when musicals don't work,
it's so often because of errors
that were made
4 1/2 years ago because the
deep structure wasn't sound
before they started putting
songs on top of it.
So, I find it enjoyable to be
in charge of getting that stuff
right.
>> GREEN: I just want to, in the
time left, talk to David for a
second about this world you
created musically and with your
collaborators dramatically.
In many ways, as I write in my
New York Times profile of David
that is --
>> YAZBEK: Is there a profile?
>> HASKINS: Quite wonderful.
>> GREEN: Oddly enough, it's
quite an explosive bombshell,
I must say.
[ Laughter ]
>> YAZBEK: Well, you could call
it an explosive dossier
on my activities.
>> GREEN: But in any
case, this is in many ways like
the perfect show that you could
have written
for who you are, you know,
everything you grew up to be,
and everything you trained
yourself to be, and everything
you've learned and loved.
>> YAZBEK: It's certainly...
It's my fourth Broadway show.
It's the most satisfying,
possibly for that reason.
It just fit... It was just...
deeply, deeply satisfying
to write these songs.
>> GREEN: And so naturally your
next at-bat is something very
similar.
>> YAZBEK: "Tootsie."
[ Laughs ]
>> GREEN: The musical version of
"Tootsie."
There we have it.
We've learned nothing whatsoever
from either of you.
Thank you so much.
>> MOSES: Thank you, guys.
>> GREEN: We have David Yazbek
and Itamar Moses from
"The Band's Visit."
>> YAZBEK: Thank you.
>> HASKINS: A pleasure.
And thank you, Jesse.
>> GREEN: Thank you, Susan.
>> ♪ Only me ♪
>> ♪ Only you when the sun is
gone ♪
>> ♪ Only me ♪
>> ♪ Only me when the moon is ♪
>> ♪ With the world all around
me ♪
>> ♪ With the world around ♪
>> ♪ Only us ♪
>> ♪ When the sun and
morning stars are gone, what's
left is only you ♪
>> ♪ Will you answer me? ♪♪
♪♪
>> HASKINS: Our thanks to the
Friends of "Theater Talk" for
their significant contribution
to this production.
>> ANNOUNCER: We welcome your
questions or comments
for "Theater Talk."
Thank you.
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