was getting a little puzzled and annoyed by that point, so i said, as a joke, "well, how about mary h. magdalene?" [laughter] he thought and said, "yes, that would be lovely." and i knew there was not gonna be any real communication here. and so i took his 75 objections, and i took them to the theater, where the actors and the director were very, very patiently waiting for me-- not patiently, impatiently. and i said, "these are the 75 things that they want changed," and i tore it up. and we went ahead and performed the play on opening night exactly as it had been performed in new york city. and shortly thereafter-- within a year or so-- the lord chamberlain's office collapsed and went away. maybe it was because they realized her majesty was never going to go to the theater. i don't know. over the years, have you seen a difference between reaction to your work in this country and reaction elsewhere? i think there's always been a slight difference in reaction. no, that-- i hate to generalize. i have found over the years, 'cause i've had a lot of my work done in europe and other places, that europe