so cary and the scenic designic, donna eastman, as well as the lighting designer jim ingles developed this idea of a turn table which would turn and allow the audience to see primary locations but see beyond that through the set secondary and tertiary types of scenes as opposed to being very boxy. so in the writing of the piece, all of this is taken into consideration while it was being developed, how we were going to stage it. over that period of 3 1/2 to 4 years, the piece got tighter, stronger, we worked with a variety of actors that came and went which in this particular case was very important because the material deals with people from a lot of different backgrounds and my own background is japanese american, there are two cake ters who are japanese american, three, rather, but there are african american characters, there's a russian jew by way of yokohama and i don't necessarily have those backgrounds. so in the workshop process, what it allows me to do to work with actors, particularly some of the african american characters, i can work with them to make sure the characters i