And we had Terrence McNally's wonderful 60-page treatment, and we worked with him to develop the characters even further. And specifically in terms of writing for African-American characters, we talked in depth with the black members of the cast. We were very concerned that their lines not come out as stereotypical, as musical theater cliche. But Coalhouse had a broken heart. So all of a sudden, in one little verse, we see that these are people with jobs, and with dreams, and it gives a sense of place, a sense of time, and a sense of individuality.
People are always interested in how a composer and lyricist work together.
Stephen and I work both ways. Everyone warm, everything still. That's the opening idyll in New Rochelle. All starting with the music. That is very unusual for me.