Locations are a challenging thing in theater, because on a fundamental level you’re always in the same place. You can do a lot to suggest that the characters are somewhere new — a house, a circus, a town square — but everything is much less literal than on film. So you have to embrace that. And when you do, you can show a corner of a garage, or use a door to be a house. The audience fills in the rest.

Spectre — the little magic town in the woods where Edward meets Jenny Hill in the movie — is cinematic in the best ways: unique and beautiful and fascinating to observe through a lens. But on the stage, “going to Spectre” would mean staying on the same stage as every other scene. Obviously, we do some pretty amazing transformations on stage, but how would Spectre feel different from Ashton, and would you be able to keep them separate in your head?

I don’t know if you had balcony seats, but if you did, would you know what the hanging shoes were? Again, it’s a question of what makes sense when every shot is a wide shot.

The closeups of a musical, of course, are the songs. We can zoom in on people and feelings, but not props or locations.