When I first read that script it seemed so complete. Mel and Tom had worked out all the problems of designing this show, how to get actors from one place to another. Every transition was a natural transition. Ms. Stroman nodded. And that even applies during set transitions.
Nobody wants to sit through a blackout anymore.
I insist that no set change be more than seven seconds. I don't want an audience to wait longer. Initially, he was a little reticent. For example, we gave Leo Bloom a secret desire to be a Broadway producer, which isn't in the movie. Mel came to like that.