Next to Normal, Rent, Avenue Q, In the Heights, Fun Home, Dear Evan Hansen, and Hamilton, began their runs Off-Broadway and later transferred to Broadway, seeking to replicate their intimate experience in a larger theatre. Other productions are first developed through workshops and then out-of-town tryouts before transferring to Broadway. Merrily We Roll Along famously skipped an out-of-town tryout and attempted to do an in-town tryout—actually preview performances—on Broadway before its official opening, with disastrous results. Broadway national tours After, or even during, successful runs in Broadway theatres, producers often remount their productions with new casts and crew for the Broadway national tour, which travels to theatres in major cities across the country. Sometimes when a show closes on Broadway, the entire production, with most if not all of the original cast intact, is relaunched as a touring company, hence the name "Broadway national tour". Some shows may even have several touring companies out at a time, whether the show is still running in New York or not, with many companies "sitting down" in other major cities for their own extended runs. For Broadway national tours of top-tier cities, the entire Broadway production is transplanted almost entirely intact and may run for many months (or years) at each stop. For example, the first U.S. tour of The Phantom of the Opera required 26 53-foot-long (16.1 m) semi-trailers to transport all its sets, equipment, and costumes, and it took almost 10 days to properly unload all those trucks and install everything into a theater. Second-tier and smaller cities can also attract national tours, but these are more likely to be "bus and truck" tours. These are scaled-down versions of the larger, national touring productions, historically acquiring their name because the casts generally traveled by bus instead of by air, while the sets and equipment traveled by truck. Tours of this type often run for weeks rather than months, and frequently feature a reduced physical production to accommodate smaller venues and tighter schedules, and to fit into less trucks. A typical second-tier city can usually sell only up to about eight weeks of tickets. For cities smaller than that, a touring production might move twice a week ("split weeks") or every day ("one-nighters"). For "bus and truck" tours, the production values are usually less lavish than the typical Broadway national tour or national touring production, and the actors, while still members of