????不是每個(gè)人找來(lái)一幫百老匯演員，戴上二十世紀(jì)八十年代的假發(fā)，就能鼓搗出值得觀看的玩意。你得有克里斯汀?亨吉那樣的天分。她執(zhí)導(dǎo)了輕松溫馨的百老匯音樂(lè)劇《搖滾年代》（Rock of Ages），在2009年獲得五項(xiàng)托尼獎(jiǎng)（相當(dāng)于美國(guó)電視界的奧斯卡獎(jiǎng)——譯注）提名（包括最佳音樂(lè)劇和最佳音樂(lè)劇導(dǎo)演）。她現(xiàn)在年僅34歲，年紀(jì)輕輕就已經(jīng)聲名鵲起，。

????《財(cái)富》雜志（Fortune）在其新作品制作現(xiàn)場(chǎng)采訪了亨吉。這幕新劇《沖浪：音樂(lè)劇》（SURF The Musical）使用沙灘小子的音樂(lè)，今年6月即將在拉斯維加斯上演。她分享了成功制作音樂(lè)劇的訣竅。

????《財(cái)富》：百老匯成功制作的秘訣是什么？

????克里斯汀?亨吉：一定要相信自己的直覺(jué)。雇人干活時(shí)，要注意他們是否與你合拍。有時(shí)，他馬上就能和你互動(dòng)起來(lái)，立馬就能知道，這人懂你的意思。

????然后你試圖盡可能多地創(chuàng)造這種一拍即合的情況。實(shí)際上，我今天和布景師說(shuō)話時(shí)問(wèn)他：“哦，你知道我想要什么時(shí)候的景象？我想要天空還沒(méi)有完全黑下來(lái)，將將開(kāi)始變成紫色。” 他回答：“你想要天空有點(diǎn)奇幻的色彩。”我說(shuō)：“太對(duì)了，那就是我想要的！”

????你年紀(jì)輕輕就在戲劇界取得很大成就。你覺(jué)得你什么時(shí)候開(kāi)始相信你的導(dǎo)演直覺(jué)？

????我記得我那時(shí)二十二、三歲的樣子，剛剛從研究生院提前畢業(yè)，正在完成我的首個(gè)專(zhuān)業(yè)音樂(lè)劇，叫做《赤裸》（Bare）。之前我做的不過(guò)都是些小成本制作。

????我記得我坐在那里，正在干活，然后我好像聽(tīng)到身體里有個(gè)聲音在說(shuō)“相信自己的直覺(jué)?！?/p>

????我覺(jué)得這可能要?dú)w結(jié)到那個(gè)很大的概念：合一，也就是說(shuō)，在內(nèi)心深處，人們或許都是一樣的。我們都知道人們的品味可能不同，但我總是相信，如果我對(duì)作品自我感覺(jué)良好，其他人也一樣會(huì)喜歡。

????那種感覺(jué)一定挺好。

????別人告訴我，我的商業(yè)感覺(jué)很好，那是什么意思呢？稱贊？還是批評(píng)？但我認(rèn)為，那是說(shuō)能感動(dòng)我的東西，同樣也能感動(dòng)大多數(shù)人。

????Not all of us could get a horde of Broadway actors wearing 1980s wigs to do anything worth watching. No, it takes a special kind of talent to be Kristin Hanggi, who directed the feel-good Broadway musical "Rock of Ages," which was nominated for five Tony awards in 2009 (including Best Musical and Best Direction of a Musical). She's young to have come so far so fast -- Hanggi is only 34 years old.

????Fortune spoke with Hanggi while she was on the set of her new production, "SURF The Musical," which features the music of the Beach Boys and opens this coming June in Las Vegas. She explains what it takes to make a musical work.

????Fortune: What's involved in pulling off a Broadway production?

????Kristin Hanggi: Definitely trusting your instinct. When you're hiring people for a project, you pay attention to how they connect to you. Sometimes, there's a back-and-forth that starts to happen immediately, where you know this person gets what you're doing.

????Then you try to create those clicks in as many places as possible. In fact, I was talking to a set designer today, and I said, 'Ooh, you know what time I want it? I want the sky when it isn't fully dark yet, and it's just starting to turn purple.' And he goes, 'you want a little magic in your sky,' and I said, 'yes, that's exactly what I want!'

????You're quite young to have gotten so far in theater. When would you say you first began to trust your instincts as a director?

????I remember being 22 or 23 and I had just graduated from graduate school a little early and I was doing my first professional production, a musical called Bare. Everything else that I had done before had been shoestring.

????I remember sitting there as we were creating it, and I felt this, I don't know, voice inside of me that said 'trust your instincts.'

????I almost feel like it comes down to this big concept of oneness, that deep down, people are all the same? We all know that taste does vary, but I always feel like, hands down, if I'm enjoying myself, I think that means that other people will too.

????That must come in handy.

????I've been told before that I have really commercial tastes, and what is that? Is that a compliment? Is that a criticism? But you know, I think it means that what I'm responding to, the majority of people will respond to as well.