One of the characteristics of genius is the ability to detect connections between seemingly disparate and then move to create something that reveals the world in a new light things. The young lyricist and composer-performer Lin-Manuel Miranda made a connection of this type about seven years ago, during a break from running Broadway musical In the Heights, in which he also starred. Miranda was, he says, "just chilling" in Mexico, reading the biography of Ron Chernow of Alexander Hamilton, when suddenly. "I was like, this is an album-no, this is a show How has anyone done this? It was the fact that Hamilton wrote his way to the island where he grew up. That's the story of hip-hop. So I searched Google 'Alexander Hamilton hip-hop musical "and fully expected to see that someone had already written. But. So I set to work. "
The result, as you may have heard, is Hamilton, a musical that uses the vernacular of hip-hop (not to mention R & B and Broadway) to convert the life of the "ten US dollars Founder" in the history of the immigrant experience and the birth of a new nation. With an impressive multi-ethnic cast under the masterful direction of Thomas Kail, exploded on stage at the Public Theatre in February for a race three months, critics (including this one) driving overjoyed, drawing crowds incredibly starry, sweeping the Obie awards Lortel, and Drama Desk, and causing a frenzy of entries. Fortunately, Hamilton is not history-that comes to Richard Rodgers Theatre on Broadway this month, and it is simply a miracle. "Lin to tell the story of the origin of the United States with people and music that look and sound like what America looks and sounds like today," says Jonathan Groff, who gives a comic turn as a vain King George III. "It's a game-changing piece of theater."
Miranda spent a year writing the first song, which appeared in the White House in 2009 (I dare to watch the video on YouTube and not get a shiver of view of a child of an immigrant rap about the son of an immigrant to a son of an immigrant who became the first black president of the United States). It took a year to write the electrifying "my shot", in which Hamilton says: “Hey yo, I like my country / I'm young, feisty and hungry / and I'm not throwing my shot," Miranda says: "It is each couplet must announce my 'A-Gonna Fall of a Hard Rain.' '. Hamilton is in the world, and nothing will ever be the same' "
I fuck with Miranda at the offices of the producers of the program, which comes directly from a matinee of the visit, the Kander and Ebb musical starring Chita Rivera darkness. "I'm going crazy," he says. "I mean, Chita, those songs." Restless, hyperverbal energy seems to be the default setting of Miranda. In jeans, shirt, sneakers and, with brown hair and a goatee grown for Hamilton, that is, at 35, still youthful, almost handsome, even with big bags under his eyes and puppyish (he and his wife, Vanessa Nadal, has a son eight months). If he represents the future of musical theater, it is also the latest in a long line of first and second generation of American composers, dating back at least to Irving Berlin, who have shaped our sense of self country itself.
American Original "I searched Google 'Alexander Hamilton hip-hop musical" and fully expected to see that someone had written, "says Miranda.”But no. So I set to work."
The son of a political consultant and a psychologist who both came here from Puerto Rico, Miranda grew up in northern Manhattan, near Inwood Hill Park, listening to records sauce parents and original-cast albums. At seven, he saw his first Broadway show, what else? -Les Miserables. "Now it's part of me at the molecular level," he says. By the time he was a freshman at Hunter High School, he won at a high level to play the Pirate King in The Pirates of Penzance. "All the girls have to pretend to be in love with you, and all the boys have to pretend to follow," he says. "Why would I do something else for a living?" In his senior year, he led West Side Story. It was not until I saw Rent on Broadway, at seventeen, however, found a way to tell stories of his own: "The idea that a musical could take place today and sound like today was innovative for my.”
But Miranda was just a nerd Broadway. He was also a nerd salsa and hip-hop nerd, obsessed with Ruben Blades and Juan Luis Guerra and analyze the rhymes of A Tribe Called Quest and Wu-Tang Clan. Even now, he is just as smooth citing the late rapper Big Pun ("Dead in the middle of Little Italy little did we know that plagued some brokers who did diddly") and Sondheim ("As his cross fade with it"). "I live in the center of this Venn diagram very rare," says Miranda. He drew from his many influences of Tony Award-winning In the Heights, musical love letter to a Spanish enclave Manhattan he wrote in Wesleyan and developed after graduating with another alum, an aspiring director named Thomas Kail. "It was the beginning of a conversation that never stopped," said Kail. The two began to put on hip-hop shows improvisation called Freestyle Love Supreme, along with fellow cast future Christopher Jackson and Daveed Diggs, a rapper from the West Coast, and the occasional help of Alex Lacamoire, and heights Hamilton orchestrator and musical director. "Our community has a very active underground shit," says Diggs. "But Lin is so unapologetically himself, and that is invincible."
After In the Heights, as Miranda fought with Hamilton, Kail said "You know, Lin, who took two years to write two songs. If we could crank up a little, maybe we could see what we have." Six months later, Miranda made ten new songs for the American Songbook series of Lincoln Center. The response was thunderous. "I saw John Kander face light for rap battles between Hamilton and Jefferson," Miranda said, "and I knew we had something."
All Together Now From left: Daveed Diggs, Okieriete Onaodowan, Christopher Jackson, Leslie Odom Jr., Jasmine Cephas Jones, Renée Elise Goldsberry, Phillipa Soo, and Anthony Ramos.
When the curtain on some of this month, audiences will find themselves face to face with a past that feels as alive as the present, with Aaron Burr (Leslie Odom Jr.), James Madison (Okieriete Onaodowan), Thomas Jefferson rises (Diggs) and George Washington (Jackson) strutting on stage crew rap in coats and pants-and Levites from costume designer Paul Tazewell Burr asking:
The result, as you may have heard, is Hamilton, a musical that uses the vernacular of hip-hop (not to mention R & B and Broadway) to convert the life of the "ten US dollars Founder" in the history of the immigrant experience and the birth of a new nation. With an impressive multi-ethnic cast under the masterful direction of Thomas Kail, exploded on stage at the Public Theatre in February for a race three months, critics (including this one) driving overjoyed, drawing crowds incredibly starry, sweeping the Obie awards Lortel, and Drama Desk, and causing a frenzy of entries. Fortunately, Hamilton is not history-that comes to Richard Rodgers Theatre on Broadway this month, and it is simply a miracle. "Lin to tell the story of the origin of the United States with people and music that look and sound like what America looks and sounds like today," says Jonathan Groff, who gives a comic turn as a vain King George III. "It's a game-changing piece of theater."
Miranda spent a year writing the first song, which appeared in the White House in 2009 (I dare to watch the video on YouTube and not get a shiver of view of a child of an immigrant rap about the son of an immigrant to a son of an immigrant who became the first black president of the United States). It took a year to write the electrifying "my shot", in which Hamilton says: “Hey yo, I like my country / I'm young, feisty and hungry / and I'm not throwing my shot," Miranda says: "It is each couplet must announce my 'A-Gonna Fall of a Hard Rain.' '. Hamilton is in the world, and nothing will ever be the same' "
I fuck with Miranda at the offices of the producers of the program, which comes directly from a matinee of the visit, the Kander and Ebb musical starring Chita Rivera darkness. "I'm going crazy," he says. "I mean, Chita, those songs." Restless, hyperverbal energy seems to be the default setting of Miranda. In jeans, shirt, sneakers and, with brown hair and a goatee grown for Hamilton, that is, at 35, still youthful, almost handsome, even with big bags under his eyes and puppyish (he and his wife, Vanessa Nadal, has a son eight months). If he represents the future of musical theater, it is also the latest in a long line of first and second generation of American composers, dating back at least to Irving Berlin, who have shaped our sense of self country itself.
American Original "I searched Google 'Alexander Hamilton hip-hop musical" and fully expected to see that someone had written, "says Miranda.”But no. So I set to work."
The son of a political consultant and a psychologist who both came here from Puerto Rico, Miranda grew up in northern Manhattan, near Inwood Hill Park, listening to records sauce parents and original-cast albums. At seven, he saw his first Broadway show, what else? -Les Miserables. "Now it's part of me at the molecular level," he says. By the time he was a freshman at Hunter High School, he won at a high level to play the Pirate King in The Pirates of Penzance. "All the girls have to pretend to be in love with you, and all the boys have to pretend to follow," he says. "Why would I do something else for a living?" In his senior year, he led West Side Story. It was not until I saw Rent on Broadway, at seventeen, however, found a way to tell stories of his own: "The idea that a musical could take place today and sound like today was innovative for my.”
But Miranda was just a nerd Broadway. He was also a nerd salsa and hip-hop nerd, obsessed with Ruben Blades and Juan Luis Guerra and analyze the rhymes of A Tribe Called Quest and Wu-Tang Clan. Even now, he is just as smooth citing the late rapper Big Pun ("Dead in the middle of Little Italy little did we know that plagued some brokers who did diddly") and Sondheim ("As his cross fade with it"). "I live in the center of this Venn diagram very rare," says Miranda. He drew from his many influences of Tony Award-winning In the Heights, musical love letter to a Spanish enclave Manhattan he wrote in Wesleyan and developed after graduating with another alum, an aspiring director named Thomas Kail. "It was the beginning of a conversation that never stopped," said Kail. The two began to put on hip-hop shows improvisation called Freestyle Love Supreme, along with fellow cast future Christopher Jackson and Daveed Diggs, a rapper from the West Coast, and the occasional help of Alex Lacamoire, and heights Hamilton orchestrator and musical director. "Our community has a very active underground shit," says Diggs. "But Lin is so unapologetically himself, and that is invincible."
After In the Heights, as Miranda fought with Hamilton, Kail said "You know, Lin, who took two years to write two songs. If we could crank up a little, maybe we could see what we have." Six months later, Miranda made ten new songs for the American Songbook series of Lincoln Center. The response was thunderous. "I saw John Kander face light for rap battles between Hamilton and Jefferson," Miranda said, "and I knew we had something."
All Together Now From left: Daveed Diggs, Okieriete Onaodowan, Christopher Jackson, Leslie Odom Jr., Jasmine Cephas Jones, Renée Elise Goldsberry, Phillipa Soo, and Anthony Ramos.
When the curtain on some of this month, audiences will find themselves face to face with a past that feels as alive as the present, with Aaron Burr (Leslie Odom Jr.), James Madison (Okieriete Onaodowan), Thomas Jefferson rises (Diggs) and George Washington (Jackson) strutting on stage crew rap in coats and pants-and Levites from costume designer Paul Tazewell Burr asking:
Kail fluid sexy staging, choreography by Andy Blankenbuehler propulsion, the number crackles with the fierce urgency of now. Two levels of David Korins set of wooden shipbuilders' brick and unfinished invokes a country populated by a set that looks on as the action unfolds, witnesses (like us) to history. "Musicals are about transitions," said Kail. "I knew every scene change would be carried out by people who were building the United States."
In the center is Hamilton, who arrives in New York as the effort to eighteen years old in 1773 and quickly became the right hand of George Washington, co-author of the Federalist Papers, Treasury Secretary Leading Actor in a proto -Monica Lewinsky scandal and the victim of a fatal bullet in an infamous duel with Burr. As written and performed (with a poignant intensity) by Miranda, Hamilton is bright, ambitious and idealistic, driven by a strange hunger for success and a haunted awareness of his own mortality. As a lyric reads: "Why do you write as if you were running out of time" He is a flawed hero who, like his creator, believes in the power of words to change the world. Citing effortlessly from the B.I.G. Notorious and Rodgers and Hammerstein score Miranda is a verbal pot, full of invention, great ideas, amazing rhymes, and the blatant emotion. He knows how to lay down a beat and how to write a captivating melody. Lush ravine Lacamoire percussion orchestrations bring it all to life.
The cast is exceptional, Anthony Ramos in the dual role of John Laurens and Hamilton's eldest son, Philip Jackson, captures the nobility and vulnerability of Washington. Then there's Jefferson, who just returned from five years in France. "He comes to sing a jazz tune your parents might listen, ask, 'What have I lost?'" Says Diggs. "He has to catch up fast day. There's so much of Oakland, where I grew up in Jefferson. The presentation cooling is something we do very well."
Jonathan Groff Cue King George III, who appears in a powdered wig, a crown velvet and costumes worthy of Liberace, as if he wandered from another musical. With wounded pride and a touch of threat, singing "going back" Brit-rock melody deliciously cheesy about the perfidy of the colonies. "It's a throwback to a sixties Beatles tune," says Groff. "It is a song of rupture between the United States and England, which is fabulous. Its like, 'You're leaving? Oh really? Well, good luck with that.'"
As Chernow, Miranda foregrounds the two main women in the life of Hamilton: bright Angelica Schuyler (a beautiful, commanding Renée Elise Goldsberry) and his sister, Eliza firm (a light Phillipa Soo). In a dazzling sequence, we see Hamilton and Eliza meeting, courtship, and marriage, and then rewinds action to show the same events through the eyes of Angelica. "She has killed so much to love him," Goldsberry says, "but the decisions she makes are despite that, and that is exciting to play." In a moving coda, we learned that Eliza Hamilton survived for 50 years and founded the country's first private orphanage in New York. "I knew there was something more for her to do," So said, "and take the pain that her husband had felt like an orphan and address it head on." (Jasmine Cephas Jones is sensational as both the third sister and lover ballad -belting Hamilton.)
Running through the story is the growing tension between Hamilton and Aaron Burr frenemy politician, played with Teflon bonhomie and slow simmering anger over Odom. In his inevitable showdown, the impetuous Hamilton finally throws away his shot just as the elusive Burr finally throw caution to the wind. "You see Romeo and Juliet, and each time I hope you will play the other way," says Odom. "That's what I do. I let shock me every night."
Hamilton I saw in the audience was more than ready for prime time, but its creators resisted instant Broadway transfer. "Lin and I know that the bones are solid," said Kail. "But we've never been afraid to do better, and go through it to make sure that every moment justified its presence."
As star and author of the series, Miranda admits that it was difficult to take a step back with a critical eye ". It would be like the lobster trying to notes from inside the pot" with its hopes, Javier Muñoz, on stage, Miranda could see from the public, and found the experience, he says, "overwhelming. Like in the opening number, hit the point where the entire cast singing" Alexander Hamilton, "and-boom-end of the number. For the first time I realized that all bowed heads except for Hamilton's and I began to mourn. "
But what has probably moved more Miranda is the way the public of all kinds have connected to Hamilton, a musical that, as income before it has the potential to become a touchstone for a new generation.”Every time you write something, go through many phases," he says. "You're going through I'm a fraud phase. You go through the stage than ever Finish. And once in a while you think, What if I have actually created what I set out to create, and received as such? With this show, the real world has exceeded my fantasy life in an absurd degree. "
Jonathan Groff Cue King George III, who appears in a powdered wig, a crown velvet and costumes worthy of Liberace, as if he wandered from another musical. With wounded pride and a touch of threat, singing "going back" Brit-rock melody deliciously cheesy about the perfidy of the colonies. "It's a throwback to a sixties Beatles tune," says Groff. "It is a song of rupture between the United States and England, which is fabulous. Its like, 'You're leaving? Oh really? Well, good luck with that.'"
As Chernow, Miranda foregrounds the two main women in the life of Hamilton: bright Angelica Schuyler (a beautiful, commanding Renée Elise Goldsberry) and his sister, Eliza firm (a light Phillipa Soo). In a dazzling sequence, we see Hamilton and Eliza meeting, courtship, and marriage, and then rewinds action to show the same events through the eyes of Angelica. "She has killed so much to love him," Goldsberry says, "but the decisions she makes are despite that, and that is exciting to play." In a moving coda, we learned that Eliza Hamilton survived for 50 years and founded the country's first private orphanage in New York. "I knew there was something more for her to do," So said, "and take the pain that her husband had felt like an orphan and address it head on." (Jasmine Cephas Jones is sensational as both the third sister and lover ballad -belting Hamilton.)
Running through the story is the growing tension between Hamilton and Aaron Burr frenemy politician, played with Teflon bonhomie and slow simmering anger over Odom. In his inevitable showdown, the impetuous Hamilton finally throws away his shot just as the elusive Burr finally throw caution to the wind. "You see Romeo and Juliet, and each time I hope you will play the other way," says Odom. "That's what I do. I let shock me every night."
Hamilton I saw in the audience was more than ready for prime time, but its creators resisted instant Broadway transfer. "Lin and I know that the bones are solid," said Kail. "But we've never been afraid to do better, and go through it to make sure that every moment justified its presence."
As star and author of the series, Miranda admits that it was difficult to take a step back with a critical eye ". It would be like the lobster trying to notes from inside the pot" with its hopes, Javier Muñoz, on stage, Miranda could see from the public, and found the experience, he says, "overwhelming. Like in the opening number, hit the point where the entire cast singing" Alexander Hamilton, "and-boom-end of the number. For the first time I realized that all bowed heads except for Hamilton's and I began to mourn. "
But what has probably moved more Miranda is the way the public of all kinds have connected to Hamilton, a musical that, as income before it has the potential to become a touchstone for a new generation.”Every time you write something, go through many phases," he says. "You're going through I'm a fraud phase. You go through the stage than ever Finish. And once in a while you think, What if I have actually created what I set out to create, and received as such? With this show, the real world has exceeded my fantasy life in an absurd degree. "
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