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had claimed that there was no way that they could use the theatre. That with this strange design of the theatre it was impossible to do. And that a tremendous amount of renovation had to be done. And apparently Lincoln Center Inc. side and the Marty Segal side was, “The hell with that! What we need here is some artistic vision, and direction. You know, the theatre isn't a problem.” So when you got on the board was it already accepted? Was the Segal viewpoint already accepted that The Theatre was not the problem and what it really just needed was artistic vision? And that therefore Crinkley was the one who was-

No.

What was the-

There was still debate about the proscenium and the thrust stage and all that stuff, debate by a lot of people who knew very little about the subject. It seemed to me that the thing to do was to get the best possible team to run the place and see what they thought because it was gonna be their theatre. When we hired the guy, are we hiring a guy who's gonna say, “You got to do something about this theatre.” Or are we hiring a guy who's gonna say, “Hey, look, it's not that important.” When we hired Mosher the subject of the physical aspects of The Theatre disappeared. And even as recently as a month ago I remember having some conversations about this and everybody saying, “What the hell! You know, it's no problem.” I'll tell you what is a problem.