"The opening was very exciting — but the opening turned out to be the same thing as our dress rehearsal, believe it or not," chuckles Robbins. "We were supposed to do the dress rehearsal earlier in the day of our opening, but [ironing out] the tech stuff took so long, we never got to it. So we did our dress rehearsal in front of a full house, and everybody loved it! It was great. We've had full houses every night and standing ovations every night. The buzz is great and our ticket sales have gone through the roof."

Each audience also sees a slightly different incarnation of the show, as the piece is modified after each performance. "The process at this theater is to really work on the show and keep making changes until it's absolute perfection," she explains. "It's a lot of work; this is probably the hardest I've ever worked in my entire life. I've never been so tired and so thrilled. It's a great show. People are just crying and laughing and moved ... It's so exciting to be involved in a project that people are so touched by. The decade of the '60s was so tumultuous and what's interesting is that the people who come who lived through it are touched in one way, and younger people who are seeing what it was are relating it to what's going on in the world today, which is not so dissimilar, and they're being touched by it in that way."

Which is especially gratifying since Robbins's involvement with the project dates back nearly three years. "We've done two workshops and this production here. In that time, my role has evolved so much," she notes. "It's very interesting being 'the mom' with a group of very young people. That's a whole new thing for me! But I'm loving that, too, getting to apply my maturity in such a positive way. Seriously, I'm just looking around going, 'I can't believe I'm here!' It's the best feeling. And there's a very strong chance that we'll be coming to Broadway, so keep your eye out!"