devastating... y'know, they write it and they have no clue how they've just ripped your heart out of your chest. And stomped on it.

AS: Right, because you've put all your time and--

KM: --everything that you have into it.

AS: Has the show evolved since it first opened in February?

KM: Oh sure. Well, once you open, you have to stop. Particularly in a one-person genre of this kind. You couldn't possibly juggle those changes on top of everything else you're doing at night. These text changes, which we'll get to this afternoon. It's hard work-he's written three or four successive drafts, and I'm sure we'll get to all of them today. He's enhanced the emotional life of Hepburn in Act One. Act Two is pretty golden as it stands.

AS: Would you consider the first act to be a setup, or exposition for the show?

KM: You could call it a setup. There is exposition, but now the exposition is supported emotionally. By her vulnerability, by her agitation. Everything that defined her at 31.

AS: Because at that point she's just suffered a major trauma to her career.

KM: That's right. She's just been labeled "box office poison". She cannot get a job. And it's amazing for us to think watching it that such a day ever came in Hepburn's life. In fact there were many of them. It's wonderful for an audience to see just how hard those lives were-we see the great icon, the public personality, the fabulous movie star. She fought hard, Andy, make no mistake about it, with everything she had in her being, to become the "fascinating" (as