Does that mean the composer and lyricist have been writing furiously, producing songs overnight?
Playbill.com: Does the addition of songs also mean some songs were cut? JM: Yes. One song has been a direct replacement. This is the part of process, where you say, “Oh, the audience already knows that. We don’t need to spend much more time on that. But here let’s slow down and get into the emotional story.” Playbill.com: This is your first time dealing with an out-of-town tryout of a Broadway show. JM: First time with an out-of-town tryout, but I’ve developed plays in front of a live audience before. And Avenue Q was downtown [first], but it was a similar process in the previews. I love changing the show every day. It keeps everyone on their feet in a helpful way. Playbill.com: Maybe that’s why you like the tryout so much, because it’s totally new to you. Most people hate tryouts. Maybe later you’ll start tearing your hair out. JM: There’s definitely been some hair on the floor. Playbill.com: How did you land this job? JM: I was in London with Sam Mendes talking about the possibility
