More than one person mentoring me in the writing of music-theatre works has reminded me that they are not so much written as re-written. Stephen Sondheim, who has managed to dominate “the American musical” writing for the last half a century, has taken this much to heart. Not able to let this project of his go, he has returned to work on it time and again since he first thought of the subject way back before West Side Story. From big to small in cast and orchestra size, and titles from Wise Guys to Gold to Bounce to the show that is now called Road Show, the piece keeps changing. So my question is, according to what you see on stage, WHY might the piece have such a hold on Sondheim? And what is compelling for you?