>> HASKINS: Coming up on
"Theater Talk"...
>> KARL: When Matthew and I
first met about possible
casting, 'cause he was looking
for some Phil Connors, and I
thought I was wrong for it.
I was like, "I don't know.
I don't play that Bill Murray
sort of sarcasm -- or I haven't
yet."
>> HASKINS: Are you not a
narcissistic guy?
>> KARL: Not naturally, but I'm
working on it.
>> HASKINS: "Theater Talk" is
made possible in part by...
♪♪
>> MAN: Okay, we're on in
three...two...
>> PHIL: Once a year, the eyes
of the nation turn to this tiny
hamlet in Western Pennsylvania
to watch a master at work,
Punxsutawney Phil, a groundhog.
[ Alarm blaring ]
>> HASKINS: From New York City,
this is "Theater Talk."
I'm Susan Haskins.
>> RIEDEL: And I'm
Michael Riedel of
the New York Post.
Now, Susan, I have been touting
the new musical "Groundhog Day"
since it opened in London almost
a year ago now.
And I'm happy to say, having
seen it, it lives up to my hype.
It is a terrific new American
musical with a little touch of
Britishness here and there,
with the director.
And the director's with us,
Matthew Warchus, our old friend.
Welcome back to "Theater Talk."
It was written by Danny Rubin,
who wrote the movie it's based
on, has written the book.
Welcome to "Theater Talk," and
welcome to the musical theater.
>> RUBIN: I'm happy to be here.
>> RIEDEL: And it stars someone
I knew was gonna be a star from
the moment I saw him as the UPS
man in "Legally Blonde,"
Andy Karl.
>> KARL: Oh, yes. That was it.
Was it the shorts?
>> RIEDEL: As soon as you walked
out, I thought, "That man is a
star in brown."
Welcome, guys, to
"Theater Talk."
And congratulations on the
success of "Groundhog Day."
>> WARCHUS: Thank you.
>> RIEDEL: Danny, take me back
to the movie, though.
What was the idea that you had
to write the original screenplay
for a movie that is now
considered a contemporary
classic?
>> RUBIN: I was trying to come
up with an idea for a movie,
because that's what I do, and I
was thinking about immortality.
I was wondering if a person who
did not seem to be able to grow
up along with everybody else --
these arrested-development kind
of people -- I thought, "Well,
maybe they just haven't had
enough time.
What if they had more than one
lifetime to work it out and grow
up?"
And I thought that was kind of
interesting but tedious.
I was trying to figure out how
to deal with a very, very long
immortal life on film without
building too many sets.
And then I had had this other
idea, a long time before, about
a person repeating the same day
over and over again, and I
realized, in that moment, that I
could get an immortal life, or a
very long life, just by having
the person repeat the day over
and over again, and then
discovered all the repetition
themes.
>> RIEDEL: So, how did you hit
on the fact that he was gonna be
a weatherman?
'Cause that's the stroke of
genius, that the Groundhog Day,
the Bill Murray, the Andy Karl,
is a weatherman.
>> RUBIN: There were a lot of
ideas that came together very
quickly, and the first thing I
had to do when I got this idea,
I thought, "This is great.
I have to just start writing.
I just have to start writing.
Which day does he repeat?
Which day does he repeat?"
That's gonna give me a lot of
information.
Is it a holiday?
Is it a birthday, an
anniversary?
What's going on?
I just opened the calendar, and
the first holiday I came to was
February 2nd, Groundhog Day,
and I thought, "Oh, that's a
good idea," because I knew about
Punxsutawney.
I knew it was a very small town.
I knew they had this ceremony
every year.
And I figured the only way to
get somebody really upset and
frustrated in this situation was
if he came from somewhere else.
And I thought, "Well, who goes
to Punxsutawney?"
A newscaster, or weatherman, who
would come to town.
And so that idea came in, and I
thought, "Oh, I got to give him
a name," and I thought, "Ooh,
the groundhog's called 'Phil.'
Let's give it to the guy and see
if that leads anywhere," and the
whole thing about being a
weatherman.
Everything just kept feeding in
and becoming a better and better
idea.
>> RIEDEL: Yeah.
>> WARCHUS: You see how easy it
is?
>> RIEDEL: I was gonna say.
He makes screenwriting sound
easy.
And the studios leapt at it as
soon you handed it to them.
They thought, "What a great idea
for a movie."
>> RUBIN: Yeah, it took them at
least a year to come -- People
liked the screenplay, and I
actually got work off of it.
It became my calling card.
And I went around and managed to
drum up some other work from it.
And then, about a year later,
Harold Ramis found it and
decided this was the right
movie for him at that time.
>> RIEDEL: Yeah.
Matthew, I want to ask you.
Steve Sondheim has famously said
he wanted to turn
"Groundhog Day" into a musical,
but he couldn't solve a problem.
He couldn't figure out a way in.
What was it that attracted you?
What was your idea, when you
first saw this movie, that it
could be a musical?
>> WARCHUS: Probably the same
thing that attracted Steve, and
other people, I think.
Danny thought that it could be a
musical.
The ideas in it are big enough
to sing about, you know?
That's what it comes down to.
It deals with such enormous
things, about time and trying to
be the best version of yourself
in the limited amount of time
you have, and it sort of expands
into this universe of emotion
and thought in such a tiny idea.
I love the film.
It makes me laugh a lot.
But things that make me laugh a
lot aren't always enough.
It makes me think a lot.
It actually makes me cry,
as well.
I find it very touching, a very
moving story.
I think it's wise.
To be wise and funny is, like,
for me, the perfect combination.
>> RIEDEL: Yeah.
And we should say, Tim Minchin
wrote the wonderful score, too.
He isn't with us, but we're one
of his big champions here on
"Theater Talk."
>> WARCHUS: Well, absolutely.
And I am, as well.
And when we finished working on
"Matilda" together, we talked
about, you know, what should be
next, and we thought that
this should be it.
And I knew that Sondheim -- I
knew that he'd thought about it.
And one of the things that I
think is so exciting for Tim
is that it is a story in
which -- It's a very
mathematical story, in terms of
trying to construct it.
You're building kind of a
labyrinth, and you have to build
it in a very mathematical way,
but it's very emotional as well.
And this idea of turning maths
into emotions is something I'm
very interested in.
Tim is as well.
I think Sondheim is as well.
>> RIEDEL: Yep. Absolutely.
>> WARCHUS: It's a lot of work.
>> RIEDEL: Andy, you're playing
the Bill Murray role, which is
one of the iconic performances
now.
Do you not think about
Bill Murray?
Do you not watch
"Groundhog Day"?
Because you have given it your
completely unique
interpretation.
I mean, it is not a Bill Murray
facsimile.
>> KARL: I think just the idea
of the actual premise of the
show is almost bigger than
Bill Murray.
Just the idea of it.
But it was actually when
Matthew and I first about
possible casting, 'cause he was
looking for some Phil Connors,
and I thought I was wrong for
it.
I was like, "I don't know.
I don't play that Bill Murray
sort of sarcasm -- or I haven't
yet."
>> HASKINS: Are you not a
narcissistic guy?
>> KARL: Not naturally, but I'm
working on it.
It was one of those things
where -- only 'cause my concept
of "Oh, I'm gonna have to play
Bill Murray.
I just finished playing Rocky in
something.
I don't know if it translates
well."
And then, as soon as I read the
script, and he played me a demo
from an early, early, early
workshop of the opening number,
and I was like, "This is so
smart."
And it can so be adapted to
stage that I knew exactly what
I wanted to do with it.
And I never had Bill Murray
in my head.
I knew he's iconic, as far as
the movie's concerned, but when
you write a musical, especially
one that was a movie, you just
got to rip it apart and find out
what makes it -- its value.
>> RIEDEL: To his point, though,
about having to reconceive the
movie as a musical, this is your
first musical, right?
[ Chuckles ]
Can you tell us --
>> RUBIN: The first play I wrote
30 years ago actually involved
the story of, like, a protest
folk singer, and so I wrote a
bunch of songs that were
performed that were part of it,
but it wasn't like a genre
musical.
It was a play with music in it.
>> HASKINS: What was it called?
>> RIEDEL: Um, "What Do You Do
With Old Hippies?"
[ Laughter ]
>> RIEDEL: That's Matthew's next
project.
Did you write the songs, too?
>> RUBIN: I didn't even attempt
to write music or lyrics for
this, except when I was
conceiving of how it would play
out.
I could think musically.
And then working with Tim and
with Matthew, who's also very
musical -- he might be modest
about that, but he is -- I felt
like I could speak the same
language, and that was helpful.
>> RIEDEL: And when you were
looking at your screenplay, what
sort of are the key moments or
things you thought, "This has to
be changed in such a way to make
it a musical"?
Moments in there that you think,
"This becomes a song," that you
found?
>> RUBIN: Well, sure, I did.
I had my own ideas about it, but
I also knew that that wasn't the
important thing.
That was enough to get me
started, but I really knew that
it had to do with Tim's response
to the movie -- or to the story,
actually.
Not to the movie, but to the
story -- not mine.
And so it was a conversation
among all three of us.
>> WARCHUS: What happened is
that the three of us spent a lot
of time talking about how to map
out the story, the story of the
film, how to create a map for it
for a musical.
And literally, this was done
with a lot of Post-it notes and
kind of things stuck to boards
and things scribbled on it.
And we worked kind of equally
together, discussing what from
the film could live in that map
and what would have to be
different and the length of the
first act and the length of the
second act where the songs
would go -- something that Tim's
brilliant at.
And then Tim took that map away
and wrote to it, and then we
moved forward, and what he wrote
caused Danny to rewrite the
scenes in between, and so on.
So it's very much a kind of
tennis match.
>> RUBIN: That collaboration was
so beautiful, and it was also
necessary.
I had kind of reached a
roadblock in my own work, and I
was like, "This is crazy."
About half my ideas are musical
ideas.
Everything has to be completely
integrated.
This isn't going to work if I
just say, "And that song goes
here, and that song goes here."
This was a case where I really
needed to roll up my sleeves and
work in collaboration with a
composer.
>> RIEDEL: When did you find
him?
And was he always in your mind?
>> WARCHUS: Well, if you're
looking...
[ Laughter ]
If you're looking for somebody
who can sing really well -- it's
quite a hard sing, this show --
and dance when needed and be
very funny but charismatic
enough to behave terribly and
the audience still to like him,
it's a very, very short list,
believe you me.
And I saw "On the Twentieth
Century," and I saw the clown,
which was extremely useful.
>> RIEDEL: 'Cause I texted
Matthew yesterday, and I said,
"The remarkable thing about your
performance is you capture all
the twists and turns the
character has to take, from
being arrogant, bitter,
condescending, then hedonistic,
and, in the end, human."
But it's never that kind of big,
pushy musical-theater acting.
It's subtle, and yet it fills
the 1,800-seat theater.
It just comes naturally to you,
or do you actually --
>> KARL: Really smart writing.
I mean, obviously, the material
stands on its own really, really
well.
But also as you're reading it,
you realize that it's something
that's not, you know, with
tongue in cheek.
Nothing is pushed.
You're earning this over the
length of time of the show,
especially the character's arc
from "A" to "B", because at the
beginning of the show, I'm
completely different than at the
end.
>> RIEDEL: And completely
different in the middle when
you're sleeping with everybody,
getting drunk all the time
because there are no
consequences for your actions.
>> HASKINS: I didn't think you
could be redeemed.
I have to say.
And even though I knew the plot,
I'm looking at it and saying,
"No, this guy's not --"
>> KARL: That's one of my
favorite compliments, because in
finding that character, and I've
played -- which was interesting
about doing this show, when I
was reading, I was like, "Oh,
this is everything I've done put
all together in one," which is
great.
I've had some great
opportunities to be on Broadway
and do shows and musicals, and
then this comes along, and it's
sort of a culmination of that.
You can take your personal life
and sort of expose it that way.
>> HASKINS: I do want to ask
you, though.
It's no spoiler alert that you
have to repeat scenes.
And at one point, I thought,
"Does he ever get confused, you
know, when he's up there with
this book?
Does he ever just lose his
place?"
>> KARL: I think my job is
actually easier because I have a
linear journey, because I know
what's going to happen.
>> HASKINS: Well, right.
The other people have to repeat
the same thing, yeah.
>> KARL: Some of the same
things, but in learning the
process and rehearsing it, it
was a little -- it was a
challenge when you, "Are we on
day two?
Are we day three now? Okay."
>> WARCHUS: Yeah, and Andy has
to wake up and get dressed.
You know, unlike the film, which
has jump-cutting, he has to wake
up and get dressed 11 times in
the show.
And one of the very first things
we did, in the first few weeks
of writing the show, is that I
got down to my boxer shorts at
home and timed myself getting
dressed.
And I said to Danny and Tim,
"Okay, we should all try this."
But as far as I can see, it
takes about 28 seconds to get
this far and then another 10
seconds to do that.
So you have to write music, or a
song, which allows someone to
get dressed over and over again.
>> RIEDEL: You see, musicals are
a series of problems that have
to be solved, and that's a very
technical problem.
>> WARCHUS: That's the first one
with "Groundhog Day."
>> HASKINS: Danny, I wanted to
ask you.
Harold Ramis and Bill Murray
were working on this with you.
It is said that they essentially
became estranged over their
disagreements over this film.
Do you remember that?
>> RUBIN: Oh, yes. Absolutely.
>> HASKINS: What was the -- I
mean, you know, to sum up.
>> RUBIN: Neither of them told
me, and I didn't ask.
>> HASKINS: Did you feel it?
>> RUBIN: Oh, absolutely.
It was three weeks before
first day of photography, and
Bill and I were in New York
working on the script, and
Harold was in Woodstock building
sets, and he called up, and I
picked up the phone, and he
says, "Let me talk to Bill."
And Bill was like, "I'm not
here."
>> HASKINS: Isn't that funny?
>> RUBIN: I already knew that
there was some tension.
>> HASKINS: But they felt so
deeply about their commitment to
this that something happened.
It's interesting.
>> RUBIN: I can only guess.
>> WARCHUS: It's like me and
Andy don't talk --
[ Laughter ]
>> RIEDEL: You just do -- The
best way to work with Matthew is
you just do what he tells you to
do.
>> KARL: The only time I've
ever, like, sort of lost it was
when you weren't there and there
were snowballs being thrown at
my head that had metal inside of
them.
I was like, "No. No.
We're not doing this."
[ Laughter ]
And then I felt bad.
You know, I had to go apologize,
but...
You never saw it, so...
>> RIEDEL: What seems to be the
challenge, though, Matthew,
would be the repetition.
I mean, you've got to set up
everything.
But, you know, if you want a
musical to move along, you have
to deal with this paradox of
repeating the same day and yet
pushing it along.
That must have been a big
challenge when you were
investigating this.
>> WARCHUS: Well, the first rule
of, you know, keeping an
audience engaged is keep
surprising them.
So if they think they know
what's coming and they can
predict it and it's the same as
before, they lose interest.
So you can actually never repeat
yourself in the story about
repetition.
We use lots and lots of
different techniques to try to
surprise the audience.
And, of course, what we can lean
on to a certain extent, and we
do, is illusions, which are
stage illusions.
And there's a point, as you
know, when Andy is somewhere and
then he's over there suddenly
and then he's somewhere and then
he's over there again.
And that was at a point in the
story where we could have done a
more natural, simple thing, but
it would have been repetitive.
We'd have seen it before.
We can't take that amount of
time.
We've got to go as fast as
possible.
We've got to do the stage
version of jump cuts.
>> HASKINS: Wonderful magic
tricks.
You're doing magic tricks. Yeah.
>> WARCHUS: There's some great
magic in it, and I think...
You know, it was interesting
brainstorming the story and
working out at which point does
the audience need a different
bedroom.
Does the bedroom need to change?
There's a point in the story
where he breaks free.
He realizes he is free, in a
sense, 'cause there were no
consequences, and then the
bedroom set no longer appears in
its full form after that.
It's fragments, and we're freer
and looser with the staging,
But surprising the audience is
definitely -- it's crucial for a
musical.
It's important any time, but
you've got to give them a
surprise every three minutes,
really, something like that.
And what I like about, you know,
some of the things that we
managed to do is that some of
the surprises take different
forms.
Some of them are things that you
don't see in the film.
They're not from the film.
There's a guy in a groundhog
suit, for example, doing
interesting things in the story,
and that's a surprise.
You would think that, onstage,
you wouldn't be able to do the
car chase that's in the movie,
but we do the car chase, so that
is --
>> RIEDEL: The car chase is
really good.
>> HASKINS: There's remarkable
design concepts.
>> WARCHUS: That's a surprise
that it's there at all.
There's something about the show
that we tried to do when we were
conceiving it is that we wanted
it -- It felt very important to
make it a very bighearted show,
and in order to do that, we
wanted it to be quite low-tech.
Now, secretly, of course, as a
lot of people now know, there
is a very complicated revolving
stage.
>> RIEDEL: Which didn't work in
preview.
>> WARCHUS: Yeah, which did
break down in preview.
But the trick is to try and hide
that kind of technology.
And playing on top of this
revolving floor that sets and
resets and rewinds underneath
people, the company are pushing
simple bits of furniture around
and making rooms and making a
diner.
And there's a sort of idea in
the design, Rob Howell's design,
that every location is made up
of many different parts in the
same way that a community is
made up of many different
people, or a man is made up of
many different parts of himself.
So this idea of jigsaw puzzle
and the low-fi, hands-on
community, organic kind of
world, rustic almost,
storytelling.
Simple, theater storytelling.
That dictated the style.
It's part of the meaning of this
story, so that's the style that
we wanted.
>> HASKINS: And the car chase is
kind of, what -- Bunraku or
stick puppets or something.
It's so brilliant when you see
it.
>> RIEDEL: There's like a little
Julie Taymor sort of things
going on there.
>> WARCHUS: People running along
holding miniature houses with
lights on.
You know, we wanted it to be --
It was very deliberate to make
sure it wasn't high-tech, to try
and get the charm but make it as
warmhearted as possible and as
fun, you know, piece of theater.
>> RIEDEL: I thought a very
interesting decision you made
was to open the second act with
the girl, Nancy, singing a song.
And I thought, "Well, that
is --" 'cause we don't her.
It's just this girl that he
wants to sleep with.
But all of a sudden -- The
song's very good -- and she
becomes a character and a human
being.
I'm interested to know why you
decided to go that way.
>> HASKINS: And I just want to
say, I thought, "Oh, they're
giving Andy Karl more time to
rest."
[ Laughter ]
>> RIEDEL: No, I thought it was
a very -- It's a very poignant
song because it makes the
townspeople have more of a
dimension to them.
>> RUBIN: Well, we had as a
goal -- I had as a goal -- from
the very beginning that we
wanted to add dimension not,
first of all, to Rita's
character, but also to the
townspeople as well.
And one of the things that the
audience gets through the first
act, they're very focused on
Phil the same way Phil is very
focused on Phil.
And we're ready to go on with
Phil's story.
What's gonna happen?
What's gonna happen?
Then we pull the rug out from
under the audience and show
another character.
And of us, we sort of feel a
little sheepish.
It's like, "Ooh. I was being
kind of Phil-o-centric, too.
I forgot that other people are
involved."
>> RIEDEL: And condescending to
these rubes here in the town who
aren't that smart or
sophisticated.
>> HASKINS: Are you reconciling
red-state people with the
sophisticated people?
Too sophisticated --
>> KARL: I certainly think
there's some people that should
come see the show and learn a
lesson.
>> HASKINS: Yes. Exactly.
Exactly. Get their comeuppance.
>> WARCHUS: Yes, and it
continues with that idea that
our eyes are opened a little bit
and we see somebody that we've
been taking for granted.
And we hear something about
their inner life.
And then it continues, 'cause
the same thing happens later
with Ned Ryerson, who's, again,
a character --
>> RIEDEL: The old friend from
the high-school days.
>> WARCHUS: And the camera stops
on him.
And he has a song, and we learn
a surprising thing about his
inner life as well.
And it's part of, obviously,
the overriding theme that Phil's
eyes get gradually opened as the
story goes on.
And the idea is that our eyes do
as well.
>> RIEDEL: I mean, to become
human, he has to learn what
empathy is.
>> KARL: Certainly empathy.
Certainly...
I loved one of the things you
told me the other day was the
first act is really about, "What
can I have?
What can I take from people?"
And the second act becomes --
or closer to the middle of the
second act, it's about
subtraction.
It's about freeing yourself of
all the things that you're
carrying that have no value as
far as, like, you know, you want
to attain the highest status or
you want to sleep with
everybody.
It's not about that.
It's about giving to --
>> HASKINS: And there's a death,
which seems to have a huge
effect on him.
>> KARL: Yeah, I think that's
one of the most beautiful
moments in the show.
We find out one of the
characters had lost someone.
And in trying to -- Phil tries
to help someone throughout the
day that he's not able to,
because life goes on and the
journey of life goes on and
death will come and life will
pass on.
And that's one of the biggest
lessons that he has learn and to
be okay with that and happy
about it, that we do have this
time on Earth to do what we do,
but we will be making that
journey beyond ourselves and to
celebrate that.
>> HASKINS: Do you back that up,
Danny?
>> RUBIN: Oh, yes.
Of course.
And I'll also add that it's in
the script, it's in, you know,
the music, but Andy's
performance is remarkable
because he actually gets to that
level of sincerity and level of
truth that feels effortless and
real.
And that allows us to empathize
with him.
>> RIEDEL: But what's more fun?
Is it more fun playing the
[bleep] or more fun playing the
good guy?
>> KARL: Oh, it's great being an
[bleep]
>> RIEDEL: [ Laughs ]
You really are having a
fare-thee-well up there doing
that in the first part of the
show.
>> KARL: That was the most
difficult part, is finding,
like, "What's the jerk inside of
me like?" and really sort of
sussing that out, and I found
that in London a few times,
like, "Oh, I know what it is."
[ Laughter ]
Just being there.
And then it's fun.
It's fun because you get to earn
the laughter despite of it.
I actually think audiences want
to see a jerk.
I --
>> RIEDEL: We always love the
villain.
>> KARL: Yeah, I've now proven
that point for myself.
It's like, "They're laughing at
me.
I'm awful, but they're still
laughing at me."
So, there is that.
But also, in some of the roles
that I've played, like
Tommy DeVito in "Jersey Boys,"
which was at the same theater,
sort of had that lovable
you-love-to-hate-him sort of
thing.
And, again, just a part of
something that I could take from
there and go, "Oh, I kind of
know what that is," so...
>> WARCHUS: And there is no
redemption unless he's been bad,
you know?
So if you try to minimize how
bad he is, the redemption's
trivial.
>> HASKINS: "Why do we care?
And why does he need to go
through all that?"
>> WARCHUS: Exactly.
And the other thing that's in
the design as well -- it's
probably worth saying -- is
this idea of scale.
We play with scale a lot, so
there are miniature things.
Right at the beginning, there's
a very miniature version of the
van.
And it's really part of this
idea that Phil thinks he's
bigger than anything else.
The very first song is called
"Small Town," where he just
ridicules and mocks small-town
sort of behavior and traditions
and people and life.
But part of that journey is when
there's a death and he realizes
that -- he is humbled by the
scale of things in life.
You can't control the limited
time that we have.
And he becomes -- Part of his
journey is subtraction to the
point where he sees how small he
is as a person, and at that
point, he's redeemed.
>> RIEDEL: See? You thought you
were writing just a comedy movie
for Bill Murray, and it turns
out to be fraught with meaning.
And I think this movie and the
musical will be analyzed in
literary classes now.
>> HASKINS: I think it already
is.
>> RUBIN: I've received a few
dissertations, sermons, and --
All kinds of thought has gone
into this that was not mine.
>> WARCHUS: I think it's lovely,
for me, 'cause my favorite thing
is to feel enlightened while
you're laughing.
I think that's a great thing.
>> RIEDEL: And it's never
over-sentimental, and it's never
cloying.
Even when he becomes human, you
don't think, "Okay, here comes
the soppy, weepy,
musical-theater comedy part."
>> WARCHUS: Good.
>> RIEDEL: It's a terrific
musical -- "Groundhog Day"
at the August Wilson Theatre.
I almost called it The Virginia.
That's how long I've been
kicking around this town.
The August Wilson Theatre.
Directed by Matthew Warchus,
written by Danny Rubin, who did
the movie as well, and starring
the terrific Andy Karl.
Thanks a lot, guys, for being
our guests on "Theater Talk."
>> WARCHUS: Pleasure.
♪♪
[ "If I Had My Time Again"
plays ]
>> RITA: ♪ If I had my time
again ♪
♪ The things I'd handle better ♪
♪ I would send my unsent
letters ♪
♪ If I had my time again ♪
>> BOTH: ♪ I'd open all the
doors I've never looked behind
before ♪
>> RITA: ♪ And, oh, the things
I'd taste, the things I'd try ♪
>> PHIL: ♪ I find the thing with
these revolving rhymes ♪
>> RITA: ♪ And the misery
I could prevent ♪
>> PHIL: ♪ They're only fun
'cause you know they're going to
end ♪
>> RITA: ♪ And I will make
a lot of friends ♪
♪ If I had my time again ♪
>> PHIL: ♪ Again ♪
♪ I have had it ♪
♪ I have had my time again ♪
♪♪
>> 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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