It was a little bit like going to the dentist. You knew it was going to be very painful, but if you could stick it out, maybe with luck you’d come out feeling a heck of a lot better. And that’s what Moss [Hart] did for me. It was painful. And he said, “We have no time for embarrassment. We have no time for anything but the blunt truth.” And he shaped, pushed, cajoled, wheedled, loved me, yelled at me, just helped me become Eliza Doolittle. And although by the following Monday, I’m sure I retreated 50 percent, I had gained 50 percent and it gave me the foundation from which to really start working on the role. And I played My Fair Lady for three-and-a-half years. And Alan Lerner once said that he felt that a long run in a very good role was more help to a performer than doing repertory with lots and lots of short roles. You might become very facile, but what I did was learn what did get a laugh, what didn’t get a laugh, and why I didn’t get it if I didn’t get it. What the difference was in terms of it raining outside or snowing or an audience that was coughing their hearts out or one that was too hot in the seasons, when your leading man has a headache or when you have a voice that’s hanging on by a thread. I think I learned in My Fair Lady everything that set me up in later years in good stead because I really learned how to preserve and take care of myself and I was learning on my feet every single performance.