Diane called me on a Thursday in March with the kind of energy she reserved for things she considered genuinely significant, which I had learned to distinguish from her ordinary energy across two years of working together."There's a callback," she said. "New musical. Original book, original score, world premiere in the fall. The composer has been developing it for six years and the producers finally have the backing to do it properly. They want you for the second lead.""Who's the composer," I said.She told me. I knew the name from two off-Broadway productions I had seen, both of them scored with the specific intelligence of someone who understood that music in theatre was not decoration but structure, that the score was doing work the book could not do and that the work needed to be precise. One of those productions had won an Obie. The other had transferred to a small Broadway house and run for eight months, which was not a long run but was the right length for what it was."When'
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