Wow, in front of Radio City Music Hall, amazing. I’m used to being back on the other side of it. There have already been two designers from South Pacific up here and they said a lot of the same things that I had written down to say about how wonderful it is to work at Lincoln Center Theater, just what a great experience it is there with the staff and the crew at that theatre. Putting on a show there is a wonder. And also, Don [Holder] brought up personal things and he brought up the fact that his dad was a World War II vet, and my father, who also pasted away a few years ago, I would loved to have had him come see this show, South Pacific, and sit next to Don’s dad. That would have been quite an experience.

Getting this first sound Tony is really a huge honor for me, and I think we really have to thank the other designers who have basically been the pioneers in this art. People like Abe Jacob, Jack Mann, Martin Lavan, Otts Munderloh, and many others. They really paved the way of us over the last 40 years. And all of us would like to thank the American Theatre Wing for bringing us on board this year. I just want to specially thank two guys who I consider my co-designers, my associate, Leon Rothenberg; and our mixer, Mark Salzberg. You’re both such generous and talented guys. And Mark, your artistry behind the console is equal to that of any great musician who’s playing in the pit.

And, lastly--I don’t hear any music yet—I’ve got to thank both Bart and Michael for doing that incredible reveal of the orchestra, because I think a big part of why I’m standing up here is the way they set up the sound for this show. How could it not be any greater than that for a sound designer? And the great Rodgers & Hammerstein music, sung with such beauty every night by the cast.

Anyway, thank you very much. This is a huge honor. Thank you.