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[Stephen Schwartz participated in the following chat just hours after the first New York rehearsal of his newest stage musical, Wicked.] [RobertArmin] Good evening and welcome to the Fynsworth Alley chat room. [RobertArmin] Tonight, I am very pleased to welcome Stephen Schwartz, one of Broadway and Hollywood's best composer/lyricists. [RobertArmin] Hiya, Stephen. [StephenSchwartz] Hi. [RobertArmin] The first question on many people's fingertips is, probably, how is Wicked going? [StephenSchwartz] Well, today was actually the first day of rehearsal. [StephenSchwartz] The full company starts next week, but today our choreographer, Wayne Cilento, started working with Norbert Leo Butz and dancers on one of the big choreographed sequences, "Which Way's the Party?" [RobertArmin] So you're rehearsing in New York? [StephenSchwartz] Yes, at 890 Broadway (the old Michael Bennett studios.) The company goes to San Francisco at the beginning of May. [RobertArmin] Who conceived the idea for this musical. I mean, who "discovered" the book and said "This should be a musical?" [StephenSchwartz] I actually did. [StephenSchwartz] I had gone to visit my friend John Bucchino in Hawaii, where he was accompanying the singer Holly Near. [StephenSchwartz] On a snorkeling trip, Holly happened to say, "I'm reading this interesting book by Gregory Maguire," and she told me about WICKED. [StephenSchwartz] As soon as I got back to the mainland, I called my lawyer and said, "Okay, someone has the rights to this. Who is it?" Because I knew I had to do it as a stage musical. [RobertArmin] Sheila asks: Was it difficult to option the rights from the author? What was the process? [StephenSchwartz] Well, the author had sold the rights to Universal Pictures (actually to Demi Moore's production company under the aegis of Universal.) [StephenSchwartz] So I had to go talk Universal into abandoning plans to do it as a movie and do it as a stage musical instead. [StephenSchwartz] I was able to persuade them that it was more appropriate for the material artistically. [RobertArmin] Did they put any money into the stage production? [StephenSchwartz] Yes. At this point they are backing the stage production completely. [RobertArmin] Well, they did okay with Best Little Whorehouse.... [StephenSchwartz] True, tho' I don't think anybody now at Universal really remembers that time, at least not from personal experience. [RobertArmin] Geeman has a question: This sounds like a big new musical. Is any of the rehearsal being filmed or documented on video? [StephenSchwartz] I'm not really a fan of that, I actually consider it sort of hubristic. But I believe PBS is filming some of it for a series they're doing on Broadway musicals. [RobertArmin] herihodiesemper asks: Mr. Schwartz, would you say that the songs of Wicked have a similar feel to songs in any of your previous shows? [StephenSchwartz] People have asked me that. I think it's closest in musical style to CHILDREN OF EDEN, but that's probably just because that's my most recent score. [RobertArmin] Interesting question from Trampyre: with all the incredible talents that have performed your songs, does anyone's performance actually haunt you? [StephenSchwartz] Haunt is an interesting word. For "Haunt", I guess I'd have to say Irene Ryan doing "No Time At All" in PIPPIN, because of its association with how she died. [StephenSchwartz] I also remember a live concert of Betty Buckley doing "Meadowlark" that was pretty stunning. [StephenSchwartz] I'm going to apologize right now just ONCE for all my typos that have been and will come during the course of this chat. [For the sake of clarity, most of these have been corrected.] [RobertArmin] A little while ago, I gave you a copy of Keir Dullea's recording of "Butterflies Are Free" (which I was surprised to discover that you had never seen). That song was your first Broadway experience. How did that come about? [StephenSchwartz] My agent whom I had just hooked up with, Shirley Bernstein, also represented Keir. [StephenSchwartz] She told me that Keir was doing a play that the producers hoped to take to Broadway, and that it was about a blind folksinger. [StephenSchwartz] She asked me if I would try writing a song on spec, and sent me the script. [StephenSchwartz] I tried to write something that sounded a little like an amateur folk singer (only a few guitar chords) and a song that was devoid of visual imagery in the lyrics because he was blind. [RobertArmin] That was one of the first plays I saw on Broadway (after moving out here from California). I saw it with Gloria Swanson. And the song certainly stuck with me. [StephenSchwartz] That means you're old TOO. [RobertArmin] All too true.... [RobertArmin] Your next show, I believe, was Godspell. [RobertArmin] What was the process in getting that started? [StephenSchwartz] Godspell began without me as a project of the conceiver/director, John Michael Tebelak, while he was still at Carnegie Mellon U. [StephenSchwartz] I had already graduated and knew nothing about it. [StephenSchwartz] My agent, Shirley Bernstein, had been taking me to audition the score for PIPPIN for various NY producers, among them Edgar Lansbury and Joe Beruh. [StephenSchwartz] They weren't interested in PIPPIN, but some months later they called me to say they had seen this show at the off-off-Broadway experimental theatre Cafe LaMama, called GODSPELL. [StephenSchwartz] They were interested in transferring it for a commercial run, but they thought it needed a score. Would I be interested? [RobertArmin] It's hard to imagine the show without your score! [StephenSchwartz] I was surprised to go to LaMama and find that I knew several of the people involved from my CMU days. [RobertArmin] Trampyre asks: Stephen- Do you have any favorite company of GODSPELL? The original Off-Broadway...the London cast...Toronto- all spurred so many popular performers- any one stand out for you? [StephenSchwartz] And you've picked my three favorites. Toronto was probably the funniest. London was maybe the best acted (David Essex, Jeremy Irons, Julie Covington, etc.) [RobertArmin] From the beginning, was the show "improvisational" or did they stick to the written script -- and your lyrics? [StephenSchwartz] The show is, and in new companies, continues to be, created by the company during rehearsal, in terms of the bits they do etc. But once it's set, it's set. [StephenSchwartz] The trick was to make it look as if it was being improvised every night. [RobertArmin] What sort of changes did you make for the 2000 revival? Anything substantial? [StephenSchwartz] The major recent change has been the insertion in the more recent productions of "Beautiful City". [StephenSchwartz] Also some changes in the Prologue -- using some more readily identifiable philosophers. [StephenSchwartz] And of course, each time the show gets done, it gets recreated anew by cast and director. [RobertArmin] c3po asks: Your lyrics seem fresh - not canned: How do you keep from writing same ol' same ol' e.g. if you have kind of a parent/child relationship issues to express or love song? [StephenSchwartz] Thanks for the compliment. [StephenSchwartz] Love songs are the hardest for me, for just that reason. [StephenSchwartz] I try to be as specific as I can to the situation in the story and to the individual character(s) singing it. [RobertArmin] Leah writes: after September 11, your song "Beautiful City" was a great comfort to so many-- how did that feel, knowing that your music was able to have such an effect in a time of such need? [StephenSchwartz] It was an amazing feeling. [StephenSchwartz] Many people and groups approached me to have the song lyrics put onto plaques and commemorative certificates, etc. [RobertArmin] Sheila asks: Does the fact that you perform in concert influence the way you write songs for the stage? If so, how? [StephenSchwartz] Not really, because I've only started performing recently. [StephenSchwartz] But I have always tried to write things that are actable and singable -- tho' some would accuse me of writing things that are too rangy. [StephenSchwartz] That's probably because I may not have the best voice in the world, but I do have a big range. [RobertArmin] Trampyre writes: Your two solo albums are knock-outs- I listen to them both all the time... how does it feel becoming a performer so late in your career? [StephenSchwartz] Thank you. It's been increasingly enjoyable for me, as I become less terrified of performing. [StephenSchwartz] This is probably a good time to plug the most recent CD, UNCHARTED TERRITORY, since it's released by Fynsworth Alley, which is sponsoring this chat. [RobertArmin] I was just about to do that! [RobertArmin] In fact, I was just listening to it before you arrived. [RobertArmin] You had one of your early shows -- Godspell -- made into a film. But most of your later works have not been so preserved. Which of your shows would you most like to see presented on the big screen? [StephenSchwartz] I really believe that PIPPIN would make a good movie, because of the fantastical elements in it. [StephenSchwartz] Maybe now that CHICAGO has been done so well and been so successful, that could come to pass. [RobertArmin] One would think that the Fosse connection would help make that happen. [StephenSchwartz] It may -- there have been approaches over the years, but perhaps now something will actually come to fruition. [RobertArmin] Jeffrey asks: Considering how good you are at coming up with great melodies, why have you gotten involved in projects where you contributed only lyrics? [StephenSchwartz] There have been specific reasons for each of them -- usually because I wanted to work with the composer involved. [StephenSchwartz] In the case of MASS, it was a chance to work with Bernstein. [StephenSchwartz] With RAGS, I originally signed on as director (in the days before Scott Schwartz was the star director in the family) and then became the lyricist. [StephenSchwartz] For the Disney films, I was offered the gig at Disney and was very happy for the opportunity, particularly since I like Alan's music and also he and I are friends. [RobertArmin] Obviously, your work with Alan Menken has made you a better known songwriter in Hollywood -- and earned you several Oscars. That certainly helped to make it possible for you to write Prince of Egypt on your own. [StephenSchwartz] Absolutely. That came about because I had gotten to know and admire Jeffrey Katzenberg while he was still at Disney, and I was very pleased to be invited to do DreamWorks' first animated feature. [RobertArmin] C3p0 asks: How would a movie of Pippin be different from the video from some years ago? [StephenSchwartz] Well, for one thing, I would hope it would be better. [StephenSchwartz] But in addition, I would expect it would be conceived cinematically. I've always seen it as sort of Fellini-esque, with elements of JULIET OF THE SPIRITS type style. [RobertArmin] Sheila asks: Have you pitched anything to DreamWorks since Prince of Egypt? [StephenSchwartz] There was a live-action musical we were talking about for a while, but it didn't come to pass. [RobertArmin] Your next show, The Magic Show, was VERY unusual. Without Doug Henning, the show seems to be a dead issue. Are there songs in the show that you would like to see brought back? [StephenSchwartz] Actually, I'm approached all the time about reviving THE MAGIC SHOW -- usually by someone who has a career as a magician. [StephenSchwartz] The problem is that I feel the book would need to be substantially re-written, and I'd also want to do new songs. And I'm not willing to do that on spec. [StephenSchwartz] I actually think the best idea for THE MAGIC SHOW would be a sit-down production in Las Vegas, Atlantic City, or Branson. [RobertArmin] Is it possible to build a stronger book show out of the material? [StephenSchwartz] I don't think it needs to be a particularly "deep" book, any more than THOROUGHLY MODERN MILLIE or HAIRSPRAY are "deep", but I think it could be less slapdash and more contemporary. [RobertArmin] Of course, The Magic Show had a phenomenally long run, so there must have been much entertainment in it. [RobertArmin] Your next show, The Baker's Wife, has had a somewhat difficult journey. I saw the original production with Topol in L.A., but none of the later productions. You have said that you have finally licked the problems that were inherent in the original show. How so? [StephenSchwartz] Yes, it's only taken 26 years to get it right! I credit Trevor Nunn with showing us the way. [StephenSchwartz] The recent production at Goodspeed, which will be re-presented next year on the mainstage at Goodspeed, was very gratifying. [StephenSchwartz] The basic discovery that Trevor made was that the show was about the village -- the transformation of the community by this small but significant event, as opposed to focusing too much on the central story. [RobertArmin] I'm delighted that you're happy with it now. I'm looking forward to the new production next year. [RobertArmin] herihodiesemper writes: Several years ago, I heard Meadowlark for the first time in a cabaret (it remains a favorite song). Where does the story in the song come from? [StephenSchwartz] I just made it up. It's sort of a bastardization of the Emperor's Nightingale, but I changed it so it would be more of a metaphor for the title character's dilemma. [RobertArmin] Trampyre asks: GODSPELL was the 1st show in South Africa to integrate black & white performers on stage- any thoughts on the "social" relevance of your shows? [StephenSchwartz] That is the thing I am proudest of in my entire career. [StephenSchwartz] John Michael and I insisted on the show being performed by an integrated cast before an integrated audience in South Africa. And after some holding out, it finally happened (that was 1974.) [StephenSchwartz] I'm not sure my other shows have social "relevance" in that way, but certainly WORKING and CHILDREN OF EDEN are socially aware. [RobertArmin] Your next Broadway show, Working, certainly had a diverse cast of characters and focused on a wide variety of people. How did you come up with that idea? [StephenSchwartz] Like WICKED, I came across the book and it immediately spoke to me as something that was "for me". [StephenSchwartz] I had to persuade Studs Terkel, who had compiled the original book of interviews, that I wasn't insane. [StephenSchwartz] Then, as I began thinking about it and workshopping it, I began to feel that it would have more verisimilitude if a number of composers approached the score, so that I wouldn't be writing a lot of pastiche. [RobertArmin] The original recording of Working is now available from Fynsworth Alley. And you recently made some "updates" in Working -- and recorded the whole show for L.A. Theatreworks. What were the biggest changes since the original production -- other than losing the newsboy number? [StephenSchwartz] Well, obviously the workplace has changed a good deal since 1978. [StephenSchwartz] Some sections were simply outdated. [StephenSchwartz] For instance, the office sequence was first done at a time before computers and cubicles, so it had to be totally re-done. [StephenSchwartz] This required doing new interviews of course. [StephenSchwartz] Also, some jobs have disappeared -- the steel industry, for example, is almost entirely overseas, so the steelworker became a guy who worked in construction of skyscrapers. [RobertArmin] Sheila writes: I loved the PBS version of WORKING in the '80's. Any chance of a televised remake? If you could cast that yourself, who are some of the actors you'd select? [StephenSchwartz] Actually, if I had it to do again, I would not cast it with stars. [StephenSchwartz] Though the cast was wonderful and certainly drew ratings, I think in retrospect that was a mistake artistically. [RobertArmin] By having stars, you mean? [RobertArmin] Lynne Thigpen was wonderful in that... but, of course, she wasn't as well known at the time. [StephenSchwartz] I just think you couldn’t separate some of the stars from their famous personas, and therefore the quality of real people got lost a bit. [RobertArmin] danB writes: I had the pleasure of seeing Stephen Schwartz and Friends this year. Are there any plans to broadcast it in any way? [StephenSchwartz] Thanks. Not at the present time. [StephenSchwartz] I've even been staying away from large venues, like NY and Chicago, for the time being. [StephenSchwartz] Maybe post-WICKED, I'll be more ready to do that. [StephenSchwartz] But as for a broadcast, first, someone with a TV station would have to want to do it ... [RobertArmin] Meanwhile, you do have several CDs that people can listen to. [RobertArmin] Trampyre writes: Stephen, just a thanks...your music is SO much a part of my life- what I really love about you is that you're accessible- whether online or in performance, you seem to appreciate us as much as we do you... Thanks for the sharing of your talent and time... [StephenSchwartz] Thanks for saying so, but of course, people become writers because they want to communicate, I think. [StephenSchwartz] If you're not communicating with actual real people, it's sort of like the tree falling in the forest with no one to hear it ... [RobertArmin] Speaking of giving your time, let's talk a little about your contributions to the ASCAP workshop. How did you become involved in that? [StephenSchwartz] I had done a couple of them as a panelist back when Charles Strouse was the artistic director. [StephenSchwartz] Then after Charles stepped down, Michael Kerker (of ASCAP) approached me about taking it on. At first I was hesitant ... [StephenSchwartz] ...because I had found that those sorts of workshops can be destructive to writers (I did one at the Dramatists Guild some years back that was particularly horrifying.) [StephenSchwartz] So I tried to set this format up in a way that would be constructive for the writers and those attending. [RobertArmin] Yes, I was at BMI. [RobertArmin] The first year was great. [RobertArmin] The second year, NO ONE continued on. It was very frustrating. [StephenSchwartz] One of the things that I try to do, and ask my fellow panelists to do as well, is to try to understand what the writers are trying to achieve and let them know where they are or are not succeeding with their intentions, as opposed to telling them how WE would write the show if WE were doing it. [RobertArmin] Yes, much better idea that trying to dictate how things MUST be written. [RobertArmin] Speaking of Charles Strouse, your show with him -- RAGS -- seems to have an active life despite it's short life on Broadway. Have you and the other writers settled on a "final" version or is it still a work in progress? [StephenSchwartz] No --I think we need the equivalent of Trevor Nunn to do for us what Trevor did for BAKER'S WIFE (are you listening Sam Mendes? Stephen Daldry?) [RobertArmin] I think it will happen one day. [RobertArmin] Shawndheim (clever name) asks: Now that casting for WICKED is more or less complete, do you plan on tailoring any of the songs to suit the particular talents in the cast? [StephenSchwartz] Good question (and cute screen name). One always does, and it's one of the most enjoyable parts of the process for me. [StephenSchwartz] Already much of Kristin Chenoweth's material has been tailored for her. And I wrote a new first song for the witch (Elphaba) to make it work better for Idina. [RobertArmin] So the show is opening in San Francisco first. Then where? [StephenSchwartz] Well, first we have to see what happens in SF. [StephenSchwartz] The intention, of course, is to bring it to Broadway eventually. But the timing will depend on how far along we are. [RobertArmin] Does the process ever get ANY easier. Is getting a show produced harder than it was thirty years ago? [StephenSchwartz] I think I'm more knowledgeable about what the process entails now, and I've learned a good deal. So yes, I think it has gotten easier, at least as far as "process' is concerned. [StephenSchwartz] It's hard for me to say if it's harder to get a show produced, since I have been so lucky with getting this one on. [StephenSchwartz] But then of course, CHILDREN OF EDEN has never gotten to Broadway, despite all those successful regional productions, so maybe it's tougher. [RobertArmin] Maybe it is best left far from Broadway. [RobertArmin] This way it is a hit wherever it goes. [StephenSchwartz] Well, it's certainly been doing well, that's true. And I can't say I'm particularly anxious for it to come to Broadway. [StephenSchwartz] But I would love there to be a really first-class production someday (Houston Grand Opera?) Though the Paper Mill production, I thought came pretty damn close. [RobertArmin] And you've had several cast albums over the years, which is quite unusual for a show that never played NYC. [StephenSchwartz] Yeah, that's been lucky too. [RobertArmin] Trampyre asks: Any chance you'll ever write an autobiography to let your fans and public know about all your wonderful experiences? And any personal stories or comments about the wonderful late Lynne Thigpen? [StephenSchwartz] First as to Lynne: I mostly remember her humor, and how in the dark days of a rehearsal process she would crack everyone up at exactly the most helpful time. [StephenSchwartz] I'm still reeling a bit from her sudden loss. I think all of us who knew her are. [StephenSchwartz] As to the other part of your question: I do plan to do a book someday in the not-too-distant future, largely growing out of three ASCAP workshop and things I've learned on my own and from my colleagues about writing a musical. [RobertArmin] c3po asks: What's it like for you to be in a recording studio for a cast/soundtrack album? And is it better when there's a fuller orchestra or chorus? [StephenSchwartz] The nice thing about the recording studio (which I love being in, since it's more or less where I started) is that a solo guitar can be as stunning as a 90-piece orchestra. [RobertArmin] I was delighted to hear that Wicked will have 23 musicians. I hope that remains true when it comes to New York. [StephenSchwartz] Yes, I'm happy to say we've been "Grandfathered" by the musicians' union. I'm not exactly sure why, but I'm glad for it, and I thank Local 802 for protecting my 23 musicians. [RobertArmin] That's great. [RobertArmin] Let's talk a bit about the animated films you have done. Is the process any different than writing for the theatre? [StephenSchwartz] It's even more collaborative, because you have development people and all those (amazingly gifted) story-board artists, etc. [StephenSchwartz] I actually learned a lot, particularly about outlining your story and honing the narrative before you really start to write. [StephenSchwartz] But in the end, when you start writing songs, you're still trying to advance the plot and illuminate characters, etc. [RobertArmin] Tell us about your plans for Hunchback. [StephenSchwartz] Well, right now, I'm very pleased to say, ABC is planning to present it as a live-action two-hour musical special. It will be under the auspices of Craig Zadan and Neil Meron, who recently had a slight success with this little CHICAGO flick ... [RobertArmin] How involved were you in the translation of your lyrics for the Vienna stage production? [StephenSchwartz] That was SO much fun! [RobertArmin] And how much was different for the stage version? [StephenSchwartz] The translator (Michael Kunze) would show me the lyrics in a three-column format -- the first column being my English lyrics, then his German translation, and then a literal translation of the German back into English. [StephenSchwartz] That way I could check out the inner rhyming, etc., and see what the sense of the lyric was. [StephenSchwartz] In several instances, I though Michael's German lyrics were superior to my original English ones! [RobertArmin] When I first heard about a Disney animated version of Hunchback, I was reminded of Sheldon Harnick's "Medea in Disneyland." Is there any story that can't be musicalized? [StephenSchwartz] Yes, I think there are stories that can't (or shouldn't) be musicalized, but not the ones people tend to think. [StephenSchwartz] It's not the "Seriousness" of the piece or the extremity of the central character -- in some ways, that theatricality is better for a musical. [StephenSchwartz] What I think are difficult choices are things that don't "sing" -- little contemporary plays, for example; small internal stories. [RobertArmin] Sheila asks: Any comments on the recent musician's strike and implications for the future of live music in musical theatre? [StephenSchwartz] I thought the final settlement was an equitable on, and good for both sides (and one that could easily have been arrived at without a strike if people had been willing to bargain at the outset -- sort of like the Middle East crisis -- everybody knows the solution, but no one can get the two sides to do it. [RobertArmin] Yes, Kris and I both figured it would end at 18 musicians. And it did. [StephenSchwartz] I do think it was important to have some contractual protection for live musicians. [StephenSchwartz] There's no question in my minds that some producers (who shall remain nameless) would happily have done shows with fully virtual orchestras if they could have gotten away with it. [RobertArmin] Well, hopefully we pushed that back a few more years. [StephenSchwartz] The point is that synthesizers can very effectively complement and enhance an orchestra (WICKED uses three keyboard synthesizers AND a synthesized drum pad). But not to replace live musicians. [RobertArmin] A question from Azalia: When you write a show do you have a "dream cast" in mind? And how active are you in the casting process? [StephenSchwartz] I don't have a dream cast, usually. Though, for instance, I did know that I hoped Kristin would be Glinda from more or less the get-go. [StephenSchwartz] theatre writers, I'm happy to say, get to be extremely involved in casting -- we have cast approval (thank you Dramatists Guild) and always go to at least the final auditions. [RobertArmin] Speaking of directors, and such, I recently wrote to Michael Butler about possibly directing his upcoming tour of Hair. But he had just signed your son, Scott to direct. I certainly couldn't argue with that. Tell us a bit about Scott. [StephenSchwartz] As I often tell people, my goal in life is to be known as "Scott Schwartz's dad", and I'm happy to say I'm getting ever closer to it. [RobertArmin] Trampyre writes: Your son Scott's turned into quite a successful director (I met him during the L.A. Theaterworks production of WORKING)- has he ever acted in any of your shows? [StephenSchwartz] I remember seeing a production Scott directed in college (Eric Overmeyer's ON THE VERGE) and having that epiphany of realizing that I wasn't just admiring it because he was my son but because he was such a talented director. It was an unforgettable experience for me. [StephenSchwartz] He of course acted when he was a kid in school, and (here's a strange experience) actually sang "Fathers and Sons" in his high school's production of WORKING! [StephenSchwartz] But he always knew he wanted to be a director (since 10th grade). [RobertArmin] Just time for a couple more questions. [RobertArmin] c3po asks: Could I ask another writing question? How do storywriters and songwriters make characters interesting? Is there a secret? [StephenSchwartz] Good question. I think the most important thing is that the character has to want something -- want it very badly -- and something has to be keeping the character from getting it. [StephenSchwartz] Preferably the obstacle is another character, who wants something just as badly. [StephenSchwartz] That's sort of the essence of drama, and it's what makes people on stage compelling. [RobertArmin] Excellent way of putting it. Which probably suggests that your work at ASCAP is VERY helpful, indeed. [RobertArmin] Trampyre asks: Of all the songs you've written, do you have a personal favorite? [StephenSchwartz] people do ask me that a lot, and I used to be coy about answering. [StephenSchwartz] But now I just tell them. [StephenSchwartz] I don't know why these two are my favorites (as far as show songs go) but they are "Chanson" from BAKER'S WIFE and "Stranger to the Rain' from CHILDREN OF EDEN. [StephenSchwartz] Of non-show songs, a song that's sort of becoming my "signature song" is "Forgiveness' Embrace", which is (appropriately enough) on the Fynsworth Alley UNCHARTED TERRITORY CD. [RobertArmin] And, of course, Bruce Kimmel put together a wonderful collection of your songs in the Stephen Schwartz Album. [StephenSchwartz] With some swell renditions on it -- Christianne Noll doing "Just Around the Riverbend", Alice Ripley on "West End Avenue", Kristin doing "Lion Tamer", to name a few. [RobertArmin] Well, once again the time has just flown by! [RobertArmin] And, thankfully, you type fast! [RobertArmin] Thank you so much for coming by tonight. We are all anxiously awaiting Wicked. [StephenSchwartz] This was actually fun! Thanks to all of you who signed on and asked such interesting questions. [RobertArmin] Maybe you can do another chat from San Francisco in a few months! [RobertArmin] It will be three hours earlier for you. [RobertArmin] Any last thoughts? [StephenSchwartz] Just again to thank those who signed on, and those who will be reading this on the website, for all your support for me over the years. [RobertArmin] Good night, everyone. Thanks for joining in tonight. Next week's guest is such a surprise -- that I don't even know myself! [RobertArmin] Goodnight, Stephen. And thanks again. [StephenSchwartz] 'Night.
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