Wainwright observed while driving in his car that "it [would] be funny to redo this as a song cycle".[1] Soon afterwards, he took the idea to New York-based theatrical producer Jared Geller (who would later co-produce the tribute concert with David Foster), hoping to turn a dream into a reality.[13] Geller initially thought the idea was "insane", but he and Wainwright continued discussing options. Eventually, Geller agreed to assist with the production and the two found space in Wainwright's schedule to book Carnegie Hall a year in advance.[13] Once the venue was booked, staging elements such as lighting, microphone location and amplification were discussed. Stephen Oremus signed on as the conductor of the 36-piece orchestra and Phil Ramone took charge of the recording.[14][15] Rehearsals began in April 2006, and while it would have been easier to practice in rehearsal rooms, large theaters such as the Lynch at the John Jay College of Criminal Justice and the Museum of Jewish Heritage were utilized because "Rufus wanted a feel for performing this material on a stage".[13] As a result of financial restrictions, full orchestra rehearsals took place only two days before the show and the day of each performance (practice with smaller groups of instruments began a few months before the concerts).[14]