I saw it on Broadway loved it. I saw threetimes, I think? Which was surprising to me. I wasn’t enjoying Broadway musicals at that time, necessarily and I— I— but I really, really was just moved by it. I was really surprised by it. And so it was interesting to try to translate it from something I just enjoy, sort of not passively but, not with an eye towards directing it. Because I really loved the original production. You know, you really do have a responsibility to the intimate nature the space, to the intimate aesthetic of the theater and and yeah. You know you can play in a theater that has 40 seats. And still not approach it with what I would consider the Writers Theater aesthetic. Which is like allowing, allowing them in, not pushing out at them. Not sort of, blasting at them. And I love being kind of— having it wash over me the way it did. Having it sort of like come at you in waves the way it did on Broadway. But I think there’s probably a slightly more conversational approach to this one. I think that sort of comes with the territory. You’re working at Writers, you know, it’s good to be back.