MARSHALL BRICKMAN (book writer) We had to have the song with the clicks in it, the snaps. There was a lot of metaphysical discussion of whether that should come at the beginning of the show or whether it should be saved for the end. You don’t want to violate too much audience expectation with a brand name.

RICK ELICE (book writer) What we discovered, rather too late (laughs), was that even by 2010, the idea of going out of town so that you could be under the radar was impossible. Anything with Nathan Lane in it is going to be high-profile. Anything with Bebe Neuwirth. Everybody was there at the first preview. I think before the overture was over, there were already chat rooms. Everybody’s thumbs were exhausted by the intermission.

PRICE It got pretty tough reviews in Chicago and really disappointed industry people, so that was very worrisome.

OKEN There were problems in the company, there were relationship issues that we were struggling with and the material needed a lot more work. I didn’t think we could achieve it without making a change. By making a change, I was basically giving up the thing that I kind of thought I was trying to do. I put it in the hands of an experienced showman who could help get me out of trouble. And that’s when Jerry came in. Julian Crouch, the designer, stayed with the production. Phelim departed.

JACKIE HOFFMAN (actress) It’s a shame, because if we kept that director, what would the vision have been? It was great that I got to meet and have a relationship with Jerry. But it certainly was emotionally difficult, and it was very awkward. But, you know, it’s show business, not “show love.”

OKEN I thought the joy of it would be in the cleverness of the way it was done. But it turned out it wasn’t enough. It became a star-driven vehicle. It just morphed differently.