Advertisements

Google Celebrates West Side Story

“West Side Story” opened on Broadway on September 26, 1957. To celebrate its 60th anniversary, Google Arts & Culture is presenting a virtual exhibition that explains its history, profiles its makers, assesses its impact, and showers us with imagery  (some of it digitized for the first time).The online collection was created in partnership with Carnegie Hall, the New York Public Library for the Performing Arts, the Museum of the City of New York, and the National Museum of American Jewish History.

Below is a glimpse (Click on any photograph to read the captions supplied by Google.). Check out Google Arts and Culture’s whole West Side Story exhibition.

 

A 360-video of “Cool”, one of the most popular songs of the musical, performed at the Knockdown Center in Queens, NY as part of Carnegie Hall’s, The Somewhere Project.

Advertisements

NYMF Awards for Excellence 2017

Errol and Fidel, Generation Me, and Georama were among the big winners of the 2017 New York Musical Festival Awards for Excellence. Freedom Riders won for both outstanding music and “social relevance and impact.”

The complete list below:

OUTSTANDING MUSIC
Winner: Richard Allen and Taran Gray, Freedom Riders

OUTSTANDING BOOK
Winner: Julie Soto, Generation Me

OUTSTANDING LYRICS
Winner: Matt Schatz with Additional Lyrics by Jack Herrick, Georama: An American Panorama Told on 3 Miles of Canvas

OUTSTANDING OVERALL DESIGN
Winner: Jason H. Thompson, Whitney Locher, Scott Neale, Ann Wrightson, Georama: An American Panorama Told On 3 Miles Of Canvas

OUTSTANDING MUSICAL ARRANGEMENTS AND ORCHESTRATIONS
Winner: Doug Oberhamer, Errol and Fidel

OUTSTANDING CHOREOGRAPHY
Winner: Justin Boccitto, Errol and Fidel

OUTSTANDING PERFORMANCE IN A LEADING ROLE
Nancy Anderson, THE FOURTH MESSENGER
Milo Manheim, GENERATION ME

Brian Charles Rooney, MISS BLANCHE TELLS IT ALLOUTSTANDING

PERFORMANCE IN A SUPPORTING ROLE
Randy Blair, GEORAMA: AN AMERICAN PANORAMA TOLD ON 3 MILES OF CANVAS
George Psomas, ERROL AND FIDEL
Nattalyee Randall, THE GOREE ALL-GIRL STRING BAND

OUTSTANDING ENSEMBLE
GENERATION ME. Cast includes Addyson Bell, Jenna Bergman, Laila Drew, Ian Ferrell, Mateo Gonzales, Brett Hargrave, Celia Hottenstein, Milo Manheim, Will Meyers, Julia Nightingale, Anthony Norman, Dante Palminteri, Oscar Revelins, Anabella Ronson-Benenati, Deandre Sevon

OUTSTANDING DIRECTION
West Hyler, GEORAMA: AN AMERICAN PANORAMA TOLD ON 3 MILES OF CANVAS

BEST MUSICAL SPONSORED BY PLAY-BY-PLAY
GENERATION ME –Book by Julie Soto; Music by Will Finan; Lyrics by Julie Soto; Story by Julie Soto & Ryan Warren

OUTSTANDING INDIVIDUAL PERFORMANCE AWARDS:
Janet Aldrich, BEN, VIRGINIA, AND ME (THE LIBERACE MUSICAL)
Sydia Cedeño, ERROL AND FIDEL
Ian Ferrell, GENERATION ME
Julia Nightingale, GENERATION ME
Anabella Ronson-Benenati, GENERATION ME
PJ Griffith, GEORAMA: AN AMERICAN PANORAMA TOLD ON 3 MILES OF CANVAS
Harriet D. Foy, MOTHERFREAKINGHOOD! (MATERNAL DISCRETION ADVISED)
Tara Martinez, NIGHT TIDE
Sharon Sachs, NUMBERS NERDS
Carrie Berk, PEACE, LOVE, AND CUPCAKES
Zoe Wilson, PLAY LIKE A WINNER

SPECIAL CITATIONS:
Building a Movement Through Musical Theater: Sheryl Berk, Carrie Berk, Jill Jaysen, and Rick Hip-Flores of PEACE, LOVE, AND CUPCAKES for their partnership with NoBully.org

Theatre for Young Audiences: Matthew McElligott, Tuxbury, Brian Sheldon, and Michael Musial, BACKBEARD

Extraordinary Festival Costume Design: Kurt Alger for BEN, VIRGINIA AND ME (THE LIBERACE MUSICAL)

Social Relevance and Impact: Richard Allen and Taran Gray, FREEDOM RIDERS

Festival Achievement in Projection Design: Kevan Loney for his work on BEN, VIRGINIA AND ME (THE LIBERACE MUSICAL); GENERATION ME; NUMBERS NERDS; and THE CADAVER SYNOD

 

Check out my preview of the 14th annual New York Musical Festival

NYMF Review: A Wall Apart. Love and Rock N Roll vs. The Berlin Wall.

“A Wall Apart,” a production at the New York Musical Festival, has a catchy score by Graham Russell of the Australian rock group Air Supply, sung by an eminently watchable cast of steel-voiced Broadway professionals. But its story, about two lovers separated for 28 years by the Berlin Wall, opts for a sentimental and frequently simpleminded version of history.

 Click on any photo by Michael Schoenfeld to see it enlarged 

 

Ironically, it begins with a black and white newsreel, which straightforwardly explains the events that led to the building of the Berlin Wall in 1961 — how the Allies after World War II divided Germany up into sectors, with the Soviet Union turning its sector into the “German Democratic Republic”….East Germany. But immediately afterward, we get a loud, Les Mizish rock anthem in which three brothers – Hans, Kurt, and Mickey – sing over and over about “liberty, the pillar of our city/we’re going to build our city like new,” which is forcefully sung and sort of rhymes but is never explained.
It’s soon clear that the three brothers have different views of East Germany. The oldest, Hans Ostermann (Darren Ritchie), is a captain in the border patrol and a Communist out of gratitude for the government’s support after the three of them were orphaned. Mickey (Josh Tolle), the youngest, is frontman for a rock n roll band with a standing invitation to play in a West Berlin club called The Bunker; he is determined to move to the West with his bride Suzanne (Emily Behny.) The middle, Kurt (Jordan Bondurant), is ambivalent – until he meets Esther Wilson (Maddie Shea Baldwin), an American citizen living in West Berlin. “A Wall Apart” follows the family and the two lovers from 1961 to 1989, the years that the Berlin Wall stood, dividing the city of Berlin, and the nation of Germany, and the characters of this musical.
Had “A Wall Apart” appeared on stage six months ago, or maybe even three, it might have been easier for one to view it more narrowly as a cautionary tale, nearly an allegory, about politicians building walls, and not been bothered as much about what’s left out of the history it is supposed to be depicting.
Esther Wilson explains when she meets Kurt that she is half-American and half-German, her “German refugee” mother having met her American father after she arrived in the United States in 1934. Other than these oblique clues and the fact that she named her daughter Esther, we are given no indication that Esther’s mother is Jewish, much less any sense that Esther is even aware of the Holocaust.
At another point, Tante (Leslie Becker), the aunt who raised the three boys after their parents were killed, reminisces about the “miseries” of 1945 – by which she means when Soviet soldiers (“Stalin’s murderers”) “overran Berlin.”
Why did the creative team omit any real references to the Third Reich and its lingering effects?  It would be difficult for them to argue that the Nazi past is irrelevant to the story they’re telling: Students of history know that East Germany justified its existence by claiming the mantle of anti-Fascism while accusing West Germany of failing to confront its Nazi past.  It’s unlikely to be because the creative team is unaware or indifferent. Co-book writer Sam Goldstein has told interviewers that Zero Mostel was his “god uncle.” Did they worry that any explicit mention of the Nazi past could undermine our identification with this wholly decent family or get in the way of the feel good narrative? Would it needlessly complicate the musical’s Manichean view of Berlin Wall history?
There is a scene where Hans urges Kurt to join him in working for the border patrol, and they debate the merits of the job, and of East Germany as a whole. Hans makes a few weak but rational arguments — they’ve fed us; security is important; you can work within the system to change it – while Kurt says things like: “What’s the point of security if there’s no liberty to go with it?”
Is there anybody sitting at the Acorn in Theatre Row on 42nd Street who is going to side with Hans against liberty?
This stacked deck approach might have been more tolerable if there didn’t exist the vastly more sophisticated examples of Doug Wright’s play “I Am My Own Wife,” or even the current FX TV series “The Americans,” which present alternative viewpoints from the same era that challenge our worldview rather than lazily confirming it.
Some of this may be fixable. “A Wall Apart” is, after all, a work in progress. That status is most obvious by the sudden shift about three quarters of the way through the show, when a character comes back from the dead to narrate the remaining quarter century that has yet to be dramatized (“…Esther began teaching dance at an orphanage. In her spare time she worked for the reunification movement….”) Although three decades have passed, neither Esther nor Kurt have aged when, in one scene, they talk through the cracks in the wall, like the scene of Pyramus and Thisbe, the silly play-within-the-play, in Midsummer Night’s Dream, except we’re meant to take the scene in “A Wall Apart” seriously.
If it’s easy to pick the script apart, it’s hard to dismiss Russell’s music, which holds some surprises, such as a lovely lullaby in German, “Forlorn Fraulein,” and “Son of the Father,” performed by a late-arriving character portrayed by Matt Rosell (who was in the cast of Les Miserables, natch.) It’s one of the musical numbers that feel hard-charging enough in and of themselves to tear down that wall.

A Wall Apart
Theatre Row
Music by Graham Russell, book by Sam Goldstein and Craig Clyde. Directed and choreographed by Keith Andrews,
Musical Direction and Arrangements by Jonathan Ivie; Scenic and Lighting Design by David Goldstein; Costume Design by Dustin Cross; Sound Design by Shannon Epstein;

Cast: Maddie Shea Baldwin as Esther, Leslie Becker as Tante, Emily Behny as Suzanne, Jordan Bondurant as Kurt, Darren Ritchie as Hans, Matt Rosell as Mickey Jr., Josh Tolle as Mickey, with Mili Diaz, Jamal Christopher Douglas, Amanda Downey, Lindsay Estelle Dunn, Sean Green, Jr., Emily Kristen Morris, and Vincent Ortega.

Running time: 2 hours, including an intermission.

A Wall Apart is on stage through July 30, 2017

Watch Spamilton in Bryant Park

The cast of the Hamilton spoof, Spamilton, performed at the Broadway in Bryant Park concert this week a medley including “Lin-Manuel As Hamilton,” “1776,” “What Did You Miss,” and “Rap Battle” — Hamilton tunes by Lin-Manuel Miranda with Spamilton lyrics by Gerard Alessandrini, best-known until now for Forbidden Broadway.

Watch the three videos beginning with the opening number from the show, which spoofs the opening number of Hamilton:

How does a whipper snapper student of rap
and a Latin
trapped in the middle of a manhattan

Flat win
Broadway accolades
while other writers kiss
the corporate dollar
grow up to be a hip-hop op’ra scholar?

 

This blue collar
shining beacon
puerto rican
got a lot farther
by being a lot smarter
by stretching rhymes harder by being a trend-starter.

 

The second song spoofs Thomas Jefferson’s song “What’d I Miss?” (This one is close-captioned.)

So what’d you miss? What’d you miss?

The lyrics go by so fast You are in the abyss

I see you sittin’ there and looking befuddled I guess my diction is sloppy or muddled

We’re telling a complex plot

In the third video, “Rap Battle,” Nicole Vanessa Ortiz sets what must be a world speed record for her rapping.

The lyrics in the video above include “Lin-Manuel” rapping:

I am not throwin’ away my spot
I am not throwin’ away my spot
I compose like Debussy
But it comes out like BIG Juicy
And I love rapping the way he taught

I am not stoppin’ the way I rap
Till I turn showtunes upside down

 

I reviewed Spamilton when it opened at the Triad. Now it’s at the 47th Street Theater — down the block from Hamilton.

The cast members performing in Bryant Park:

Tristan J. Shuler, Chris Anthony Giles, Cameron Amandus, Nicole Vanessa Ortiz, Aaron Michael Ray, and Fred Barton on the piano.

New York Musical Festival NYMF 2017 Preview

A ninth century Pope, a 21st century female Buddha,  Liberace with a notorious gangster, Errol Flynn with Fidel Castro, Matthew McConaughey with the devil, a Conquistador’s daughter with a Taino, and a female inmate string band from the 1930’s are among those featured in the 20 new musicals being given full productions at the 14th annual New York Musical Festival — NYMF 2017 — which runs from July 10 to August 6, 2017. Watch songs from six of them below, plus a seventh that will be presented as a concert. The videos were recorded during performances either at rehearsals or at an outdoor concert.

Besides the 20 full productions, NYMF 2017 will offer more than a dozen concerts and “beta musicals,” and 10 “readings” — new musicals in development. Use NYMF’s search-finder to help determine which of these many shows you might like.

Click on the titles below to get dates and details

A Wall Apart

A rock musical about a 30-year love story set against the backdrop of the Berlin Wall.

@NYReptheatre 

 

The Fourth Messenger

What if the Buddha were a woman, living in our times? Mama Sid is a modern-day “awakened one” with a worldwide following. But a determined young woman seeks to unearth Mama Sid’s mysterious past,

@FourthMessenger 

The Goree All-Girl String Band

The musical is inspired by the true story of six female convicts in 1938 Texas who taught themselves musical instruments in prison and became a radio sensation.

@GoreeMusical

Matthew McConaughey vs. The Devil

A musical that asks the question “How did Matthew McConaughey win an Academy Award?” The answer involves Lesli Margherita as Mephistophiles.

@M_MC_V_D

Temple of the Souls

A tale of forbidden love in Puerto Rico: Amada, the beautiful daughter of a Conquistador, and Guario, a young Taíno, meet in the magical rain forest

The Cadaver Synod: A Pope Musical

A musical based on a real albeit surreal “trial of the ninth century.” In the year 897 A.D., Pope Stephen VII dug up the rotting corpse of his predecessor, Pope Formosus, and placed it on trial. The defense was represented by a sputtering teenage deacon.

Camp Wanatachi

Two girls’ journey of sexual discovery within the unlikely setting of an all-female Christian summer camp

@CAMPWANATACHI 

Come From Away on Broadway: Review, Video and Pics

“Come From Away” tells the story of the 9,000 residents of Gander, Newfoundland who took care of some 7,000 passengers and crew of 38 airplanes that were forced to land at the local airport because of the September 11, 2001 attacks. The production has gained fans for its foot-stomping Celtic-flavored music, the tight ensemble work of its 12-member cast, and its heartwarming view of humanity, as it’s traveled from La Jolla to Seattle to D.C. to Toronto. But now that it’s in New York, it has to deal with people like me.

As I wrote on the 15th anniversary of September 11th,I was across the street from the Twin Towers on the morning of September 11, 2001 when they were attacked. When an out-of-town friend visiting New York recently bought me a ticket to the 9/11 Memorial Museum, I couldn’t bring myself to go.

So I was worried that Come from Away would, in contemporary parlance, be triggering. But the exact opposite occurred. The Canadian song writing team of Irene Sankoff and David Hein are so eager to please that Come From Away keeps a safe distance from the horror of 9/11.

Come From Away focuses on the kindness of strangers, and how they ease the fear and inconvenience of the “plane people,” some 1,500 miles away from any real danger.

This is not really a “9/11 musical,” then, but it will certainly be seen that way. The question thus arises: Are we so battered by the trauma of actual events that the only stage depictions we welcome about them are feel-good entertainment?

The answer seems to be yes,  judging by the enthusiastic embrace of this musical

Full review at D.C. Theatre Scene

Click on any photograph by Matthew Murphy to see it enlarged.

She Loves Me on BroadwayHD: First Scene

SheLovesMeopeningnumberstill

Below is the overture and opening number of the Roundabout’s Broadway production of “She Loves Me,” as live streamed by BroadwayHD on June 30, 2016.

The musical starring Laura Benanti, Zachary Levi and Jane Krakowski runs live through July 10 at Studio 54. July 10th is also the deadline for  renting the entire BroadwayHD recording “on demand” for $9.99.

My review of She Loves Me

 

(The scene/song begins at around the 7 minute mark)

 

Lyrics:

               ARPAD
GOOD MORNING.
HOW ARE YOU THIS BEAUTIFUL DAY?
ISN’T THIS A BEAUTIFUL MORNING?
               SIPOS

VERY.

HEY, SIPOS-
HOW’S THIS?

 

                    SIPOS
     THAT’S AN AWFULLY ELEGANT POSE
     BUT IS ALL THAT ELEGANCE NECE-
     ‘SARY?
                    ARPAD
And why not? I represent Maraczek’s, don’t I? We’re not a butcher shop- or a hardware store... we’re a parfumerie. That means we’re...
we’re...
     WE’RE STYLISH.

GOOD MORNING

GOOD DAY.

SIPOS

THAT’S IT.

               SIPOS
WITH A QUIET DIGNITY

ARPAD

                    ARPAD
     AND WE GET THE TILT OF OUR HATS RIGHT.
                    SIPOS
     THAT’S RIGHT.
                    ARPAD
     WHEN I RIDE MY BIKE,
     PEOPLE SEE WHAT MARACZEK’S LIKE.
     SO I THINK IT’S VERY IMPORTANT
     THAT I LOOK MY BEST.
                    SIPOS
And how many people did you run over today?

ARPAD

Not one.

                    SIPOS
Well - it’s early.
                    ARPAD
Here comes Miss Ritter.

SIPOS

Hmmm…

                    ARPAD
She spent the night with Mr. Kodaly

SIPOS

Again?

                    ARPAD
They always kiss goodbye at the newsstand. Then she walks around the block to make us think she’s been home.

YES,

(MISS RITTER ENTERS.)

                    RITTER
     GOOD MORNING.

ARPAD, SIPOS

GOOD DAY.

                    RITTER
     HOW ARE YOU THIS GLORIOUS DAY?
     HAVE YOU SEEN A LOVELIER MORNING?
                    ARPAD, SIPOS

NEVER.

                    RITTER
     IT’S TOO NICE A DAY
     TO BE INSIDE SHUFFLING SOAP.
     I HAVE NO MORE ENERGY WHAT-SO-EVER.
Anybody mind if I take the day off? Arpad - why aren’t you old
enough to take me away from all this?

ARPAD

I’m old enough!
                    RITTER
Then marry me and I’ll quit my job.

(SHE gives ARPAD a close scrutiny.)
No. I’m afraid you’re really not– quite- old enough.

                    ARPAD
It won’t be long, though. I’m catching up. You know, Miss Horvath

always used to say I’d get to be thirty-five before you ever did.

SIPOS

Ah- Mr. Kodaly.
(STEVEN KODALY enters.)

                    KODALY
     GOOD MORNING.

GOOD DAY.

ARPAD, SIPOS, RITTER
               KODALY
HOW ARE YOU THIS RADIANT DAY?
WHAT A RARE MAGNIFICENT MORNING!

IS IT?

ARPAD, SIPOS

KODALY (To RITTER)

     GOOD MORNING, MY DEAR.
     HOW ARE YOU THIS RAVISHING DAY?
     DO YOU KNOW YOU’VE NEVER LOOKED MORE EXQUISITE.
                    RITTER
     THANK YOU, KIND SIR.
                    KODALY
What a lovely dress.
                    ARPAD
It’s the same one she had on yesterday, Mr. Kodaly.

SIPOS

Ah- Mr. Nowack.
(GEORG NOWACK ENTERS.)

                    GEORG
     GOOD MORNING.
                    SIPOS, ARPAD, RITTER, KODALY

GOOD DAY.

                    GEORG
     ISN’T THAT A BEAUTIFUL SKY?
     WHAT A PERFECT SAMPLE OF SUMMER WEATHER.
     IT’S TOO NICE A DAY
     TO BE INDOORS COUNTING OUT CHANGE
     WHAT A WASTE OF HOLIDAY WEATHER ALTOGETHER...
     LET’S ALL RUN AWAY!
               RITTER
WOULDN’T IT BE SOMETHING IF WE ALL TOOK OFF FROM WORK?
               SIPOS
LEAVING MR. MARACZEK WITHOUT A SINGLE CLERK!
               ARPAD
WHY NOT HAVE A PICNIC?
               SIPOS
I COULD BRING MY WIFE’S PRESERVES.
               KODALY
CHAMPAGNE MIGHT BE NICE WITH HOT HORS D’OEURVES.

ALL (In canon)

IT’S TOO NICE A DAY
TO BE STUCK INSIDE OF A STORE.
WE COULD ALL BE GETTING OUR FACES SUNTANNED.
IT’S SO NICE A DAY
TO BE DOZING UNDER A TREE-
               SIPOS
AND WE’LL ALL BE OUT OF A JOB.
               RITTER
IF IT COSTS THAT MUCH TO GET SUNTANNED-
               SIPOS
I’LL STAY UNTANNED.
               KODALY
PALE- BUT SOLVENT.

A PICNIC-

ARPAD

Oh. Yes.

GEORG

SIPOS (to GEORG)

A PICNIC-

ALL

(Spoken-sighed) Oh, well…

KrakowskiinSheLovesMe

4th of July Poll: Your Favorite American History Musical

Broadway musicals that take American history as their subject have been called a “vastly underexplored genre”…until recently. Which is your favorite?

BroadwaymusicalsaboutAmericanhistorycollage

Dear Evan Hansen: Review, Pics, Song

The title character in the musical Dear Evan Hansen is a clinically anxious high school student who is so friendless that he can’t get any classmates to sign the cast on his broken arm, except an even worse misfit named Connor. But then Connor commits suicide, and his death turns Evan’s life around.

In other hands, it might be difficult to suspend disbelief in the series of unlikely, near-satiric events at the heart of this original musical, which is now running Off-Broadway through the end of the month. But Dear Evan Hansen has become a sold-out hit, something of a cult favorite, with plans to transfer to Broadway. It’s easy to see why. Composer/lyricists Benj Pasek and Justin Paul, whose previous musicals include Dogfight and A Christmas Story, have fashioned a tuneful, affecting pop-rock score. Director Michael Greif, who has some experience with shows about adolescent angst (Rent, Next to Normal), has created a first-rate, resonant production.(It’s worth pointing out that Team Evan Hansen includes Hamilton alumni David Korins as the set designer and Alex Lacamoire as the musical supervisor and orchestrator.) And the eight-member cast offer some deep and credible performances, led by the extraordinary Ben Platt…

Full review on DC Theatre Scene

Click on any photograph by Matthew Murphy to see it enlarged.

#Gram4Ham: Watch Hamilton on The Grammys

Hamilton8

The cast of Hamilton will perform their show’s opening number live via satellite from the Richard Rodgers Theater sometime during the 2016 Grammy broadcast, which will air starting at 8 p.m. ET tonight (February 15, 2016) on CBS.

Update: To watch the video, click here.

Lyrics for Song # 1: Alexander Hamilton

This is only the fourth time the Grammy broadcast has featured a performance live via satellite, and only the ninth performance by a Broadway musical on any broadcast of the Grammy Awards. (Previous Broadway shows featured on the Grammys: “Godspell” (1972); “The Magic Show” (1975); “Sophisticated Ladies” (1982); “La Cage Aux Folles” (1984); “Will Rogers Follies” (1992); “Riverdance” and “Bring In Da Noise, Bring In Da Funk” (1997); and “American Idiot” (2010))

“Hamilton” is one of the five Broadway cast recordings that  have been nominated for Best Musical Theater Album.

Update: After its live performance, Hamilton was awarded Best Musical Theater Album Grammy — on the broadcast! (Usually it’s one of the Grammys awarded off-camera.)
The nominees are:

Hamilton (Atlantic)

Fun Home (PS Classics)

An American in Paris (Masterworks Broadway)

The King and I (Universal Music Classics)

Something Rotten! (Ghostlight).

Hamiltonquizcollage

Quiz: Which Hamilton character are you?

 


Song #1: “ALEXANDER HAMILTON.”

AARON BURR
HOW DOES A BASTARD, ORPHAN, SON OF A WHORE AND A
SCOTSMAN, DROPPED IN THE MIDDLE OF A FORGOTTEN
SPOT IN THE CARIBBEAN BY PROVIDENCE, IMPOVERISHED, IN SQUALOR, GROW UP TO BE A HERO AND A SCHOLAR?
JOHN LAURENS
THE TEN-DOLLAR FOUNDING FATHER WITHOUT A FATHER GOT A LOT FARTHER BY WORKING A LOT HARDER
BY BEING A LOT SMARTER
BY BEING A SELF-STARTER
BY FOURTEEN, THEY PLACED HIM IN CHARGE OF A TRADING CHARTER
THOMAS JEFFERSON
AND EVERY DAY WHILE SLAVES WERE BEING SLAUGHTERED AND CARTED AWAY ACROSS THE WAVES, HE STRUGGLED AND KEPT HIS GUARD UP INSIDE, HE WAS LONGING FOR SOMETHING TO BE A PART OF
THE BROTHER WAS READY TO BEG, STEAL, BORROW OR BARTER
JAMES MADISON
THEN A HURRICANE CAME, AND DEVASTATION REIGNED
OUR MAN SAW HIS FUTURE DRIP, DRIPPING DOWN THE DRAIN PUT A PENCIL TO HIS TEMPLE, CONNECTED IT TO HIS BRAIN AND HE WROTE HIS FIRST REFRAIN, A TESTAMENT TO HIS PAIN
BURR
WELL THE WORD GOT AROUND, THEY SAID, “THIS KID IS INSANE, MAN.” TOOK UP A COLLECTION JUST TO SEND HIM TO THE MAINLAND
“GET YOUR EDUCATION, DON’T FORGET FROM WHENCE YOU CAME, AND THE WORLD IS GONNA KNOW YOUR NAME. WHAT’S YOUR NAME, MAN?”
ALEXANDER HAMILTON
ALEXANDER HAMILTON
MY NAME IS ALEXANDER HAMILTON
AND THERE’S A MILLION THINGS I HAVEN’T DONE BUT JUST YOU WAIT, JUST YOU WAIT . . .
ELIZA HAMILTON
WHEN HE WAS 10 HIS FATHER SPLIT, FULL OF IT, DEBT-RIDDEN TWO YEARS LATER, SEE ALEX AND HIS MOTHER BED-RIDDEN HALF-DEAD SITTIN IN THEIR OWN SICK
THE SCENT THICK, AND
FULL COMPANY (EXCEPT HAMILTON) (WHISPERING) ALEX GOT BETTER BUT HIS MOTHER WENT QUICK.

GEORGE WASHINGTON
MOVED IN WITH A COUSIN, THE COUSIN COMMITTED SUICIDE LEFT HIM WITH NOTHIN BUT RUINED PRIDE, SOMETHING NEW INSIDE
A VOICE SAYING,
“YOU GOTTA FEND FOR YOURSELF.” HE STARTED RETREATIN AND READIN EVERY TREATISE ON THE SHELF.
BURR
THERE WOULD HAVE BEEN NOTHIN LEFT TO DO
FOR SOMEONE LESS ASTUTE
HE WOULDA BEEN DEAD OR DESTITUTE
WITHOUT A CENT OR RESTITUTION STARTED WORKIN–CLERKIN FOR HIS LATE MOTHER’S LANDLORD TRADIN SUGAR CANE AND RUM AND ALL THE THINGS HE CAN’T AFFORD
SCAMMIN’ FOR EVERY BOOK HE CAN GET HIS HANDS ON
PLANNIN’ FOR THE FUTURE SEE HIM NOW AS HE STANDS ON
THE BOW OF A SHIP HEADED FOR A NEW LAND
IN NEW YORK YOU CAN BE A NEW MAN.

COMPANY
IN NEW YORK YOU CAN BE A NEW MAN—

HAMILTON
JUST YOU WAIT!

COMPANY
IN NEW YORK YOU CAN BE A NEW MAN—

HAMILTON
JUST YOU WAIT!

COMPANY
IN NEW YORK YOU CAN BE A NEW MAN—
IN NEW YORK—

ALEXANDER HAMILTON
WE ARE WAITING IN THE WINGS FOR YOU
YOU COULD
NEVER BACK DOWN
YOU NEVER LEARNED TO TAKE YOUR T(H)IME!
OH, ALEXANDER HAMILTON
WHEN AMERICA SINGS FOR YOU WILL THEY KNOW WHAT YOU OVERCAME,
WILL THEY KNOW YOU REWROTE THE GAME,
THE WORLD WILL NEVER BE THE SAME, OH.
BURR
THE SHIP IS IN THE HARBOR NOW, SEE IF YOU CAN SPOT HIM
ANOTHER IMMIGRANT, COMIN UP FROM THE BOTTOM
HIS ENEMIES DESTROYED HIS REP AMERICA FORGOT HIM

 

MULLIGAN/LAFAYETTE

WE FOUGHT WITH HIM.

LAURENS

ME? I DIED FOR HIM.

WASHINGTON
ME? I TRUSTED HIM.

ELIZA/ANGELICA/MARIAH

ME? I LOVED HIM.

BURR
AND ME? I’M THE DAMN FOOL THAT SHOT HIM.
COMPANY
SHOT HIM. SHOT HIM.

THERE’S A MILLION THINGS I HAVEN’T DONE, BUT JUST YOU WAIT!
JUST YOU WAIT

BURR

WHAT’S YOUR NAME, MAN?

COMPANY

ALEXANDER HAMILTON!