The workshop cover-up: can it hide a musical's weaknesses rather than expose them?(Brief Article)

just discovered York: How do you coax a brand-new work--particularly a large, expensive musical--from its beginnings forward the page to a lucky incarnation on the stage? You schedule a series of workshops, of course. unless director Susan Schulman (The covered Garden, Violet) recently told a collection of theatre practitioners gathered in Manhattan that she has her doubts about the effectiveness of directorially polished presentations of works-in-progress.
At a three-day symposium called "Building the American Musical," conven in June on the Stage Directors & Choreographers