Maria Björnson

Hmm

... we watched it on YouTube, and it is so fabulous because it actually addresses this problem where the set designer, who was Maria Björnson, and she did the costumes and sets, was at the same time doing a new production at the Royal Opera House, doing a new production at the Royal Ballet, was putting together a huge Broadway musical that was g- opening up in LA and then moving to Broadway.

And of course, she was late on everything, which was affecting the entire production, and these are major productions, huge productions that cost millions and millions of pounds.

So this was going on, right? So that is really how it works.

You usually have those dates, and you all try to make them, but sometimes people get a little bit overwhelmed, and they overbook themselves sometimes.

And instead of saying, "No, I can't do this project," they say, "Yes, I'm gonna go do this project," knowing full well that they're not gonna make those dates.

And you better be really big 'cause let me tell you something, the things they said about M- Maria Björnson in this documentary are unbelievable, horrible things about her.

So I have a question, though, because, um, that little conversate, the, the, the, the timeline that you're talking about for regional theater and giving it to them after the set is completed assumes that the gear is in the theater?

But he was always a great believer in the seamless moving of scenery, and that, that scenes would start and finish, you know, maybe a little ahead of where you thought they would and this.

And he kept everything moving, and we had this incredible design with Maria Björnson.

And so we were pretty much, you know, as one from the word go.

I do remember that the one scene, there was only one scene in the rehearsal room that didn't really work-