After Sondheim finished "Evening Primrose", Jerome Robbins asked him to adapt Bertolt Brecht's "The Measures Taken" despite the composer's general dislike of Brecht's work. Robbins wanted to adapt another Brecht play, "The Exception and the Rule", and asked John Guare to adapt the book. Leonard Bernstein had not written for the stage in some time, and his contract as conductor of the New York Philharmonic was ending. Sondheim was invited to Robbins' house in the hope that Guare would convince him to write the lyrics for a musical version of "The Exception and the Rule"; according to Robbins, Bernstein would not work without Sondheim. When Sondheim agreed, Guare asked: "Why haven't you all worked together since "West Side Story"?" Sondheim answered, "You'll see". Guare said that working with Sondheim was like being with an old college roommate, and he depended on him to "decode and decipher their crazy way of working"; Bernstein worked only after midnight, and Robbins only in the early morning. Bernstein's score, which was supposed to be light, was influenced by his need to make a musical statement. Stuart Ostrow, who worked with Sondheim on "The Girls Upstairs", agreed to produce the musical (now entitled "A Pray By Blecht" and, later, "The Race to Urga"). An opening night was scheduled, but during auditions Robbins asked to be excused for a moment. When he did not return, a doorman said he had gotten into a limousine to go to John F. Kennedy International Airport. Bernstein burst into tears and said, "It's over." Sondheim later said of this experience: "I was ashamed of the whole project. It was arch and didactic in the worst way." He wrote one-and-a-half songs and threw them away, the only time he has ever done that. Eighteen years later, Sondheim refused Bernstein and Robbins' request to retry the show.