Because we were doing it on a Broadway stage, we were not doing the big operatic version that you usually see at the Met, or many opera houses across the world. We wanted to make ours a more intimate experience, so we looked at it more like a play or a piece of musical theater than necessarily an opera. I guess that’s the main difference. But I think the other difference is, usually, when you see productions of Porgy and Bess done in an opera house, they’ll do about 15 performances total. We did over 250, 260 performances of that. No, 300! We made it to 300, because we were doing it eight times a week. So there’s a chance to really get into those characters and explore in a way that you might not necessarily get a chance to do. You meet up with a company, you work for a couple of months. You do 15 performances and then everybody goes off to do maybe another version of Porgy and Bess or whatever, but you don’t get that cohesive sort of day in and day out, month in and month out, I think, that we were lucky enough to get with that long, long run.