I even listened to pop music that I bought on the streets of Cairo to hear how they used percussion within a pop context that might be different from what we knew in America. I found a recording that purported to be the music of the ancient Egyptian court how that was possible, I don't know, but it sounded authentic. I listened to a lot of recordings from the region, like Hebrew lullabies, folk songs, and instrumental recordings of oud and other instruments that are very specific. Stephen Schwartz: I definitely had to learn about it, and I did a lot of research when I was first writing the animated feature. Can you talk about the process of learning about that, if you had to, or utilizing that in the musical? I saw in an interview where you were talking about how you leaned into melodic scales and instruments that were more appropriate to the region. Also,, “How do you take something which-even in animation-has been depicted, very, very realistically, as film does, theatricalize it, and allow the audience's imagination to come into play?” I think trying to solve that was a lot of what everybody worked on. Then, of course, we wanted to expand on those. Scott, the director, and the producers, et cetera, wanted to make sure that the big set pieces, “Deliver Us”, “When You Believe”, and “Through Heaven's Eyes” were realized effectively on stage. Stephen Schwartz: That was the goal of everybody working on the piece. On that collaborative nature, what was your involvement in making sure the big set piece moments from the animated film were translated as well as they could be to the stage?
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