DOCSLIB.ORG

Original Broadway Cast Recording Act I

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Original Broadway Cast Recording Act I ACT I ORIGINAL BROADWAY CAST RECORDING Jeffrey Seller Sander Jacobs Jill Furman AND The Public Theater PRESENT BOOK, MUSIC AND LYRICS BY Lin-Manuel Miranda INSPIRED BY THE BOOK ALEXANDER HAMILTON BY Ron Chernow WITH Daveed Diggs Renée Elise Goldsberry Jonathan Groff Christopher Jackson Jasmine Cephas Jones Lin-Manuel Miranda Javier Muñoz Leslie Odom, Jr. Okieriete Onaodowan Anthony Ramos Phillipa Soo AND Carleigh Bettiol Andrew Chappelle Ariana DeBose Alysha Deslorieux Sydney James Harcourt Neil Haskell Sasha Hutchings Thayne Jasperson Stephanie Klemons Morgan Marcell Emmy Raver-Lampman Jon Rua Austin Smith Seth Stewart Betsy Struxness Ephraim Sykes Voltaire Wade-Greene SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN David Korins Paul Tazewell Howell Binkley Nevin Steinberg HAIR AND WIG DESIGN MUSIC COORDINATOR PRESS REPRESENTATIVE Charles G. LaPointe Michael Keller Sam Rudy Media Relations Michael Aarons TECHNICAL SUPERVISION PRODUCTION STAGE MANAGER COMPANY MANAGER Hudson Theatrical Associates J. Philip Bassett Brig Berney CASTING ARRANGEMENTS GENERAL MANAGEMENT Telsey + Company Alex Lacamoire Baseline Theatrical Bethany Knox, CSA Lin-Manuel Miranda Andy Jones MUSIC DIRECTION AND ORCHESTRATIONS BY Alex Lacamoire CHOREOGRAPHY BY Andy Blankenbuehler DIRECTED BY Thomas Kail THE WORLD PREMIERE OF HAMILTON WAS PRESENTED IN NEW YORK IN FEBRUARY 2015 BY THE PUBLIC THEATER. OSKAR EUSTIS, ARTISTIC DIRECTOR PATRICK WILLINGHAM, EXECUTIVE DIRECTOR ACT I Disc 1 1. ALEXANDER HAMILTON 2. AARON BURR, SIR 3. MY SHOT 4. THE STORY OF TONIGHT 5. THE SCHUYLER SISTERS 6. FARMER REFUTED 7. YOU’LL BE BACK 8. RIGHT HAND MAN 9. A WINTER’S BALL 10. HELPLESS 11. SATISFIED 12. THE STORY OF TONIGHT (REPRISE) 13. WAIT FOR IT 14. STAY ALIVE 15. TEN DUEL COMMANDMENTS 16. MEET ME INSIDE 17. THAT WOULD BE ENOUGH 18. GUNS AND SHIPS 19. HISTORY HAS ITS EYES ON YOU 20. YORKTOWN (THE WORLD TURNED UPSIDE DOWN) 21. WHAT COMES NEXT? 22. DEAR THEODOSIA 23. NON-STOP Cast Orchestrations By ................................................................................................. ALEX LACAMOIRE Alexander Hamilton .............................................................................LIN-MANUEL MIRANDA Music Coordination .......................................... MICHAEL KELLER AND MICHAEL AARONS Eliza Hamilton .................................................................................................................PHILLIPA SOO Synthesizer and Drum Programmer ........................................................... RANDY COHEN Aaron Burr .................................................................................................................LESLIE ODOM, JR. Broadway Sound Effects by ......................................................................... NEVIN STEINBERG Angelica Schuyler ............................................................................ RENÉE ELISE GOLDSBERRY Ableton Programmer ....................................................................................SCOTT WASSERMAN George Washington ............................................................................ CHRISTOPHER JACKSON Associate Synthesizer Programmer ....................................................... TAYLOR WILLIAMS Marquis de Lafayette/Thomas Jefferson ................................................... DAVEED DIGGS Assistant Synthesizer Programmer ..................................................................JEREMY KING Hercules Mulligan/James Madison ........................................ OKIERIETE ONAODOWAN Drum Samples and Additional Loop Editing ................................................WILL WELLS John Laurens/Philip Hamilton....................................................................ANTHONY RAMOS Peggy Schuyler/Maria Reynolds ............................................... JASMINE CEPHAS JONES Conductor/Keyboard 1...................................................................................... ALEX LACAMOIRE King George ........................................................................................................... JONATHAN GROFF Keyboard 2/Associate Music Director .........................................................KURT CROWLEY James Reynolds/Doctor ..............................................................SYDNEY JAMES HARCOURT Concertmaster ............................................................................................ JONATHAN DINKLAGE Samuel Seabury ..............................................................................................THAYNE JASPERSON Violin ................................................................................................................ ERIN BENIM MAYLAND Charles Lee ..................................................................................................................................JON RUA Viola/Violin ................................................................................................................... MARIO GOTOH George Eacker ...........................................................................................................EPHRAIM SYKES Cello ......................................................................................................................................... ANJA WOOD Martha/Sentinel ......................................................................................................ARIANA DEBOSE Drums ........................................................................................................................... ANDRES FORERO Dolly ...........................................................................................................................SASHA HUTCHINGS Percussion/Keyboard ............................................................................................ BENNY REINER Bass/Keyboard ................................................................................................RICHARD HAMMOND Ensemble Vocals Guitars/Banjo ................................................................................................. ROBIN MACATANGAY CARLEIGH BETTIOL, ANDREW CHAPPELLE, ARIANA DEBOSE, Additional Musicians For Recording: ALYSHA DESLORIEUX, SYDNEY JAMES HARCOURT, NEIL HASKELL, Harp ...............................................................................................................................LAURA SHERMAN SASHA HUTCHINGS, THAYNE JASPERSON, STEPHANIE KLEMONS, Wood Table On “Aaron Burr, Sir” ..........................AHMIR “QUESTLOVE” THOMPSON MORGAN MARCELL, JAVIER MUÑOZ, EMMY RAVER-LAMPMAN, JON RUA, AUSTIN SMITH, SETH STEWART, BETSY STRUXNESS, EPHRAIM SYKES, VOLTAIRE WADE-GREENE Mixed By ...................................................................TIM LATHAM at ATLANTIC STUDIOS, NYC and INVICTUS SOUND, LONG ISLAND, NY Produced by ALEX LACAMOIRE, BILL SHERMAN, LIN-MANUEL MIRANDA Recorded By ....................................................................DERIK LEE at AVATAR STUDIOS, NYC and AHMIR THOMPSON & TARIK TROTTER for THE ROOTS and ATLANTIC STUDIOS, NYC Executive Produced by LIN-MANUEL MIRANDA and AHMIR THOMPSON & TARIK Music Copying .....................................................EMILY GRISHMAN MUSIC PREPARATION/ TROTTER for THE ROOTS EMILY GRISHMAN, KATHARINE EDMONDS Associate Producers: CRAIG KALLMAN, RIGGS MORALES, SEAN PATRICK FLAHAVEN Keyboard And Electric Drum Rental ..................................................COHEN KEYBOARDS and THOMAS KAIL Percussion Rental ..........................................................................................................ERIC POLAND A&R: PETE GANBARG AvantGrand Piano provided by Yamaha A&R Administration: CRAIG ROSEN Questlove exclusively plays ModernCre8ve Table 001 April Writing Desk Production Manager: JILL DELL’ABATE Series Marketing For Atlantic Records: DIANE VADNAL Assistant Engineers: TYLER HARTMAN, RON ROBINSON and EBONIE SMITH Music Assistants: KHIYON HURSEY, MADELINE MYERS and JOSEPHINE BEARDEN Mastered by TOM COYNE at STERLING SOUND, NYC BURR for someone less ACT I Well, the word got around, they said, “This astute, kid is insane, man” he woulda been dead took up a collection just to send him to the or destitute 1. ALEXANDER mainland. without a cent of HAMILTON “Get your education, don’t forget from whence restitution, you came, and started workin’, AARON BURR the world is gonna know your name. What’s clerkin’ for his late How does a bastard, orphan, son of a whore your name, man?” mother’s landlord, and a tradin’ sugar cane Scotsman, dropped in the middle of a ALEXANDER HAMILTON and rum and all the forgotten Alexander Hamilton. things he can’t afford spot in the Caribbean by providence, My name is Alexander Hamilton. scammin’ for every impoverished, in squalor, And there’s a million things I haven’t done, book he can get his COMPANY grow up to be a hero and a scholar? but just you wait, just you wait . hands on, Scammin’ ELIZA HAMILTON plannin’ for the JOHN LAURENS future see him now as The ten-dollar founding father without a When he was ten his father split, full of it, debt-ridden, he stands on Plannin’ father the bow of a ship Oooh… got a lot farther by working a lot harder, two years later, see Alex and his mother bed-ridden, headed for a new by being a lot smarter, land, by being a self-starter, half-dead sittin in their own sick, the scent thick, In New York you can by fourteen, they placed him in charge of a be a new man. trading charter. COMPANY COMPANY HAMILTON THOMAS JEFFERSON And Alex got better but his mother
Load more

Recommended publications
  • The Evolution of Musical Theatre Dance
    Gordon 1 Jessica Gordon 29 March 2010 Honors Thesis Everything was Beautiful at the Ballet: The Evolution of Musical Theatre Dance During the mid-1860s, a ballet troupe from Paris was brought to the Academy of Music in lower Manhattan. Before the company’s first performance, however, the theatre in which they were to dance was destroyed in a fire. Nearby, producer William Wheatley was preparing to begin performances of The Black Crook, a melodrama with music by Charles M. Barras. Seeing an opportunity, Wheatley conceived the idea to combine his play and the displaced dance company, mixing drama and spectacle on one stage. On September 12, 1866, The Black Crook opened at Niblo’s Gardens and was an immediate sensation. Wheatley had unknowingly created a new American art form that would become a tradition for years to come. Since the first performance of The Black Crook, dance has played an important role in musical theatre. From the dream ballet in Oklahoma to the “Dance at the Gym” in West Side Story to modern shows such as Movin’ Out, dance has helped tell stories and engage audiences throughout musical theatre history. Dance has not always been as integrated in musicals as it tends to be today. I plan to examine the moments in history during which the role of dance on the Broadway stage changed and how those changes affected the manner in which dance is used on stage today. Additionally, I will discuss the important choreographers who have helped develop the musical theatre dance styles and traditions. As previously mentioned, theatrical dance in America began with the integration of European classical ballet and American melodrama.
    [Show full text]
  • JAYE BARRE Directed By: MARIELLA KLINGER
    Bernards Township2015 Parks & Recreation Presents a Trilogy Repertory Production of Executive Producer: LORRIE LANE Produced by: JAYE BARRE Directed by: MARIELLA KLINGER Musical Direction by: JOE LESKY Choreography by: SAMANTHA KESTENBAUM In The Heights is presented through special arrangement with R&H Theatricals Conceived by: Lin-Manuel MirandaMusic and Lyrics by: Lin-Manuel Miranda Book by: Quiara Alegria Hudes Development of In The Heights was supported by the Eugene O’Neill Theater Center during a residency at the Music Theater Conference of 2005 Originally produced on Broadway by Kevin McCollum, Jeffrey Seller, Jill Furman Willis, Sander Jacobs, Goodman/Grossman, Peter Fine, Everett/Skipper Summer, 2016 Dear Residents and Friends of the Community, Good evening and welcome to the Bernards Township Department of Parks and Recreation’s 29th season of Plays in the Park. So many of you enjoy and look forward to the plays year after year. I am excited that the Township brings this tradition free to the public for all to enjoy. Bernards Township proudly sponsors this event and substantially subsidizes the budget because we recognize the importance of keeping performing arts alive. It is truly wonderful that these productions are here, under the stars, in Pleasant Valley Park. July is Parks and Recreation Month. Bernards Township offers many opportunities to enjoy family outings such as Plays In The Park. Please join us as we celebrate… details may be found on pages 17-18 of this playbill. You can stay current on all our special events by visiting our website at www.bernrads.org. There you will find information on the wide variety of programs we offer.
    [Show full text]
  • April 2021 Will Wells, Timber Creek High School C/O 2007
    Black Horse Pike Regional School District Spotlight on Alumni - April 2021 Will Wells, Timber Creek High School c/o 2007 “Will graduated in 2007. Since then he has worked as a professional musician, composer, film scoring composer, arranger, and music producer. Will was a guitarist, keyboardist, and backing vocalist for the group "Imagine Dragos" and went on their world tour with them in 2015-2016. Will also was the Electronic Music Producer for the Broadway smash hit, "Hamilton." Will has also worked with famous musicians Barbara Streisand, LMFAO, Anthony Ramos, Quincey Jones, Cynthia Erivo (Star of the movie "Harriet"), Pentatonix, and many, many more! For more information, check out his website at: willwellsmusic.com Each year Will returns to Timber Creek to speak with our musicians, has brought in guest performers and conducted a song writing workshop. ~John Perkis, TC Music Education teacher 1. AA: Upon graduation, what post-secondary path did you take and why? Will: Upon graduating from Timber Creek Regional High School in 2007, I decided to attend Berklee College of Music in Boston, Massachusetts. After completing their “5- Week Summer Program” in the Summer of 2005, I knew that there was something about this institution that uniquely suited my needs, my passion, and my dreams. I was always interested in traditional and contemporary music, as well as the ever-evolving technology that was used in its creation. Berklee truly felt like the only place where I could fully immerse myself in the study of music and music technology, while being surrounded by thousands of other scholars who were passionate about music or the music industry.
    [Show full text]
  • Broward Center for the Performing Arts 2018-19 Calendar Listings
    July 27, 2018 Maria Pierson/Savannah Whaley Pierson Grant Public Relations 954.776.1999 ext. 225 Jan Goodheart, Broward Center for the Performing Arts 954.765.5814 Note: This season overview is being provided for your use in fall season previews which publish/post/broadcast on September 1 or later. Due to contractual arrangements, the announcement of one or more performances cannot be published by traditional or social media as of July 27, 2018. Embargo information is listed, in red, at the end of the briefs for those performances. Broward Center for the Performing Arts 2018-19 Calendar Listings BrowardCenter.org Facebook.com/BrowardCenter @BrowardCenter #BrowardCenter Instagram.com/BrowardCenter Youtube.com/user/BrowardCenter The Broward Center for the Performing Arts is located at 201 S.W. Fifth Avenue in Fort Lauderdale in the Riverwalk Arts & Entertainment District. Performances are presented in the Au-Rene Theater, Amaturo Theater, Abdo New River Room, Mary N. Porter Riverview Ballroom and the JM Family Studio Theater. Ticketmaster is the only official ticketing service of the Broward Center. Buy tickets online at BrowardCenter.org and Ticketmaster.com; by phone at 954.462.0222; and at the Broward Center’s AutoNation Box Office. Please note that not all shows scheduled for the 2018-19 season are currently on sale and additional performances will be added throughout the season. Print quality images of select performances from the upcoming season, representing all genres, may be downloaded at https://bit.ly/2AgZ45J. One of America’s premier performing arts venues, the Broward Center for the Performing Arts presents more than 700 performances each year to more than 700,000 patrons, showcasing a wide range of exciting cultural programming and events.
    [Show full text]
  • Download Program Notes
    PROGRAM: SONDHEIM SONGBOOK MAY 20 / 7:30 PM BING CONCERT HALL ARTISTS PROGRAM Betsy Wolfe, vocals Love Is in the Air (Ted, Betsy, Clarke) Clarke Thorell, vocals Love I Hear (Clarke) Paul Masse, piano What More Do I Need? (Betsy) Ted Sperling, music director and piano Barcelona (Clarke, Betsy) Moments in the Woods (Betsy) What Can You Lose? (Clarke) We gratefully acknowledge the generous support The Girls of Summer (Betsy) of Bonnie and Marty Tenenbaum. Honey (Clarke, Betsy) Getting Married Today (Ted, Clarke, Betsy) Pleasant Little Kingdom/Too Many Mornings (Clarke, Betsy) INTERMISSION By the Sea (Betsy, Clarke) Not a Day Goes By (Betsy) Good Thing Going (Ted) Buddy’s Blues (Clarke) Could I Leave You? (Betsy) A Little House for Mama (Clarke) Children Will Listen (Betsy) Finishing the Hat (Clarke) There Won’t Be Trumpets (Betsy) It Takes Two (Betsy, Clarke) PROGRAM SUBJECT TO CHANGE. Please be considerate of others and turn off all phones, pagers, and watch alarms, and unwrap all lozenges prior to the performance. Photography and recording of any kind are not permitted. Thank you. 26 STANFORD LIVE MAGAZINE MAY/JUNE 2015 He has gone from cult figure to national with the New York Philharmonic and The icon. His melodies, which have been labeled King and I at the Lincoln Center Theater. “unhummable,” get under your skin and linger for days. He is perhaps the greatest English- In the opera world, Mr. Sperling has language lyricist of any age. Every brilliant conducted The Mikado, Song of Norway, lyric and crystalline melody will be audible and Ricky Gordon’s The Grapes of Wrath in Bing Concert Hall when Ted Sperling, at Carnegie Hall; Kurt Weill’s The Firebrand one of Broadway’s most in-demand music of Florence at Alice Tully Hall; and a double directors, is joined at the piano by Betsy bill for the Houston Grand Opera and Wolfe and Clarke Thorell, two of Broadway’s Audra McDonald: La voix humaine by freshest singers.
    [Show full text]
  • Brea Wardlaw Meigs Academic Magnet Middle School • Title
    Brea Wardlaw Meigs Academic Magnet Middle School • Title: Actress • Job Description: An actor is a person who portrays a character in a performance (also actress; see below).[1] The actor performs "in the flesh" in the traditional medium of the theatre or in modern media such as film, radio, and television. The analogous Greek term is ὑποκριτής (hupokritḗs), literally "one who answers".[2] The actor's interpretation of their role—the art of acting—pertains to the role played, whether based on a real person or fictional character.* *Source: en.m.wikipedia.org • Why would I like to have this job? I’d like to be an actress because I LOVE to act. It’s fun because I can get to be a different person. It’s like being your own alter ego. I feel happy and powerful when I’m acting. The best thing about it is getting to tell a story in your own way, by acting the words you say (haha that rhymes!) What makes a good actress? To be a good actor/actress, you have to feel the part to be the part. And you have to be passionate about the role you are playing. Having chemistry and getting along with the other cast members is also a very important part of acting. A good actor/actress also needs to step out of his or her comfort zone, every once in a while so they can embrace themselves. Are you a good actress? I feel like I am. I feel like I have all of the right traits and abilities and the right personality.
    [Show full text]
  • Marvin Hamlisch
    tHE iRA AND lEONORE gERSHWIN fUND IN THE lIBRARY OF cONGRESS AN EVENING WITH THE MUSIC OF MARVIN HAMLISCH Monday, October 19, 2015 ~ 8 pm Coolidge Auditorium Library of Congress, Thomas Jefferson Building The Ira and Leonore Gershwin Fund in the Library of Congress was established in 1992 by a bequest from Mrs. Gershwin to perpetuate the name and works of her husband, Ira, and his brother, George, and to provide support for worthy related music and literary projects. "LIKE" us at facebook.com/libraryofcongressperformingarts loc.gov/concerts Please request ASL and ADA accommodations five days in advance of the concert at 202-707-6362 or [email protected]. Latecomers will be seated at a time determined by the artists for each concert. Children must be at least seven years old for admittance to the concerts. Other events are open to all ages. • Please take note: Unauthorized use of photographic and sound recording equipment is strictly prohibited. Patrons are requested to turn off their cellular phones, alarm watches, and any other noise-making devices that would disrupt the performance. Reserved tickets not claimed by five minutes before the beginning of the event will be distributed to stand-by patrons. Please recycle your programs at the conclusion of the concert. The Library of Congress Coolidge Auditorium Monday, October 19, 2015 — 8 pm tHE iRA AND lEONORE gERSHWIN fUND IN THE lIBRARY OF cONGRESS AN EVENING WITH THE mUSIC OF MARVIN hAMLISCH WHITNEY BASHOR, VOCALIST | CAPATHIA JENKINS, VOCALIST LINDSAY MENDEZ, VOCALIST | BRYCE PINKHAM, VOCALIST
    [Show full text]
  • We Finally See Rockwell, Williams in FX's First 'Fosse/Verdon' Trailer
    We Finally See Rockwell, Williams in FX's First 'Fosse/Verdon' Trailer 02.25.2019 FX's upcoming eight-episode limited series, Fosse/Verdon, unpacks the turbulent five-decade relationship of legendary Hollywood director and choreographer, Bob Fosse (Sam Rockwell), and his wife, muse and star in her own right, Gwen Verdon (Michelle Williams). Their relationship starts as a director-star cliche and then evolves into something much more complicated as Fosse fuels his manic creativity with drugs, alcohol and sex. Verdon, meanwhile, reaches the height of her career as a Broadway triple threat and multiple Tony winner but watches Fosse stay in the spotlight as she fades into age and obscurity. Still, she remains his unrecognized collaborator even as their marriage unravels. Eventually, Fosse forges a connection with Ann Reinking (Margaret Qualley), an up-and-coming Broadway dancer who has all the talent and tenacity of a young Verdon. She hopes to follow in Verdon's footsteps, but may not have the stomach to put up with everything Fosse demands. Surrounding the couple are a coterie of fellow artists, friends, collaborators, and rivals: playwright and screenwriter Paddy Chayefsky (Norbert Leo Butz); former modern dancer- turned-homemaker Joan Simon (Aya Cash); Joan's husband, playwright Neil Simon (Nate Corddry); and theater producer and director Hal Prince (Evan Handler). The series is executive produced by Rockwell, Williams, Thomas Kail, Steven Levenson, Lin-Manuel Miranda, Joel Fields and George Stelzner. Levenson wrote the premiere episode, which is directed by Kail. Nicole Fosse, daughter of the couple, serves as key creative consultant, co-executive producer and keeper of the Verdon Fosse legacy.
    [Show full text]
  • Production Images Released for Hadestown at the National Theatre Click Here to Download
    12 November 2018 Production images released for Hadestown at the National Theatre Click here to download Music, lyrics and book by Anaïs Mitchell Developed with Rachel Chavkin Olivier Theatre Press Night 13 November, in rep until 26 January Following record-breaking runs at New York Theatre Workshop and Canada’s Citadel Theatre, Hadestown comes to the National Theatre prior to Broadway. In the warmth of summertime, songwriter Orpheus and his muse Eurydice are living it up and falling in love. But as winter approaches, reality sets in: these young dreamers can’t survive on songs alone. Tempted by the promise of plenty, Eurydice is lured to the depths of industrial Hadestown. On a quest to save her, Orpheus journeys to the underworld where their trust in each other is put to a final test. Celebrated singer-songwriter Anaïs Mitchell and director Rachel Chavkin have transformed Mitchell’s acclaimed concept album into a genre-defying new musical that mixes modern American folk music with vintage New Orleans jazz to reimagine a sweeping ancient tale. ‘Inventive. Beguiling. Luminous. Spellbinding.’ – New York Times The cast includes Sharif Afifi, Reeve Carney, André De Shields, Rosie Fletcher, Amber Gray, Beth Hinton-Lever, Carly Mercedes Dyer, Eva Noblezada, Seyi Omooba, Gloria Onitiri, Patrick Page, Aiesha Pease, Joseph Prouse, Jordan Shaw and Shaq Taylor. Directed by Rachel Chavkin, with set design by Rachel Hauck, costume design by Michael Krass, lighting design by Bradley King, sound design by Nevin Steinberg and Jessica Paz, choreography by David Neumann, musical direction and vocal arrangements by Liam Robinson, orchestrations and arrangements by Michael Chorney and Todd Sickafoose, with Ken Cerniglia as dramaturg.
    [Show full text]
  • Who Tells Your Story?: Intersections of Power, Domesticity, and Sexuality Relating to Rap and Song in the Musical Hamilton
    WHO TELLS YOUR STORY?: INTERSECTIONS OF POWER, DOMESTICITY, AND SEXUALITY RELATING TO RAP AND SONG IN THE MUSICAL HAMILTON By Tia Marie Harvey A THESIS Submitted to Michigan State University in partial fulfillment of the requirement for the degree Musicology—Master of Arts 2019 ABSTRACT WHO TELLS YOUR STORY?: INTERSECTIONS OF POWER, DOMESTICITY, AND SEXUALITY RELATING TO RAP AND SONG IN THE MUSICAL HAMILTON By Tia Marie Harvey In January 2015, Lin-Manuel Miranda’s Hamilton: An American Musical premiered at The Public Theater in New York City. Later that year it moved to Broadway with an engagement at the Richard Rodgers Theater, followed by productions in Chicago and London. Commercially successful and critically acclaimed, Hamilton continues to hold significant cultural relevance in 2019. As a result of this musical’s cultural significance, it has the ability to communicate positive, but also limiting, aspects of our society. In this thesis, I examine the concept of rap as a musical language of power. To do this, I assert that characters in Hamilton who have power, and particularly when expressing that power, do so through rap. In contrast, when characters don’t have power, or are entering realms of the powerless (i.e. spaces gendered female), they do so through lyrical song. In chapter 1, I set up the divide between rap and song as it primarily translates among male characters and class. Chapter 2 is focused on the domestic sphere, and in chapter 3 I discuss sexuality. In the conclusion of this thesis, I revisit the character of Eliza and explore the perceived power of her role as storyteller and the way in which the themes I discuss illuminate many missed opportunities to present an interpretation of America’s founding that is truly revolutionary.
    [Show full text]
  • HAMILTON Project Profile 6 8 20
    “HAMILTON” ONE-LINER: An unforgettable cinematic stage performance, the filmed version of the original Broadway production of “Hamilton” combines the best elements of live theater, film and streaming to bring the cultural phenomenon to homes around the world for a thrilling, once-in-a-lifetime experience. OFFICIAL BOILERPLATE: An unforgettable cinematic stage performance, the filmed version of the original Broadway production of “Hamilton” combines the best elements of live theater, film and streaming to bring the cultural phenomenon to homes around the world for a thrilling, once-in-a-lifetime experience. “Hamilton” is the story of America then, told by America now. Featuring a score that blends hip-hop, jazz, R&B and Broadway, “Hamilton” has taken the story of American founding father Alexander Hamilton and created a revolutionary moment in theatre—a musical that has had a profound impact on culture, politics, and education. Filmed at The Richard Rodgers Theatre on Broadway in June of 2016, the film transports its audience into the world of the Broadway show in a uniquely intimate way. With book, music, and lyrics by Lin-Manuel Miranda and direction by Thomas Kail, “Hamilton” is inspired by the book “Alexander Hamilton” by Ron Chernow and produced by Thomas Kail, Lin-Manuel Miranda and Jeffrey Seller, with Sander Jacobs and Jill Furman serving as executive producers. The 11-time-Tony Award®-, GRAMMY Award®-, Olivier Award- and Pulitzer Prize-winning stage musical stars: Daveed Diggs as Marquis de Lafayette/Thomas Jefferson; Renée Elise Goldsberry as Angelica Schuyler; Jonathan Groff as King George; Christopher Jackson as George Washington; Jasmine Cephas Jones as Peggy Schuyler/Maria Reynolds; Lin-Manuel Miranda as Alexander Hamilton; Leslie Odom, Jr.
    [Show full text]
  • Theatre Getaway
    HAMILTON THE MUSICAL THE MUSIC MAN BREAKFAST & DINNER INCLUDED THEATRE GETAWAY T AUGUST 7 – 8, 2021 SATURDAY - SUNDAY FUN & LAUGHTER FEATURING “THE MUSIC MAN” AT THE CHANHASSEN DINNER THEATER AND HAMILTON AT THE ORPHEUM. Join Judy’s Leisure Tours as we travel to Minneapolis for a theater get- away. We have lots to look forward to: food, laughter and two wonderful performances. $495.00Based on Double Occupancy Single Supplement Add $65 For Reservations Contact: • Motorcoach JUDY’S LEISURE TOURS • Quality Accommodations 4906 16TH ST N • Tour Director FARGO, ND 58102 • Chanhassen Dinner Theatre 701-232-3441 • AThe Music Man@ • The Orpheum Theatre • AHamilton” • Breakfast/Dinner Day 1, Saturday, August 7: Traveling down I-94 with our traveling companions we enjoy the view of the Minnesota countryside. We will stop in route for you to have lunch before we arrive in the twin cities at our overnight lodging, the Country Inn and Suites in Chanhassen. You will have time to relax and freshen up before we head over to our performance this evening. We have reserved seats at the Chanhassen Dinner Theatre where we will enjoy a delicious dinner from their menu and see the exciting musical “The Music Man” a fun transformative story. This musical theater classic features songs like “(Ya Got) Trouble.” “Seventy-Six Trombones,” The Wells Fargo Wagon,” Til There Was You,” “Gary, Indiana” and more. Meredith Wilson’s six-time, Tony Award- winning musical comedy has been entertaining audiences since 1957. The Music Man follows fast-talking salesman, Harold Hill, as he cons the people of River City, Iowa into buying instruments and uniforms for a boys’ band that he vows to organize- this, despite the fact that he doesn’t know a trombone from a treble clef.
    [Show full text]