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The Morning Line THE MORNING LINE DATE: Wednesday, January 18, 2017 FROM: Melissa Cohen, Michelle Farabaugh Lana Picciano, Angela Yamarone PAGES: 18, including this page C3 January 18, 2017 ‘Hamilton’ Casts Its Next Lafayette and Jefferson By Joshua Barone “Hamilton” fans, meet the latest quick-tongued actor to take on the dual role of the Marquis de Lafayette and Thomas Jefferson. James Monroe Iglehart, who won a Tony Award for his performance as the Genie in “Aladdin,” will join the cast of “Hamilton” in mid-April, Jeffrey Seller, the show’s lead producer, announced on Tuesday. Mr. Iglehart was involved in “Hamilton” in its early stages, having sung the role of Hercules Mulligan at a Lincoln Center concert staging of “The Hamilton Mixtape” in 2012. He also performed (under the name J-Soul) in the hip-hop improv troupe Freestyle Love Supreme with Lin-Manuel Miranda, the creator and original star of “Hamilton,” and Christopher Jackson. (Mr. Jackson portrayed George Washington in the musical.) “It was fun to watch my friends put this show together,” Mr. Iglehart said. “I’ve been listening to this for a while.” Because Mr. Iglehart has spent the last three years in “Aladdin” on Broadway and in its tryout in Seattle, he said, it seemed as if the opportunity had passed for returning to “Hamilton.” As Lafayette/Jefferson, he will step into a role that is full of showy crowd-pleasing runs of extremely fast rap. Daveed Diggs originated the part and “made it what it is,” Mr. Iglehart said. (Mr. Diggs, who won a Tony for his performance, left the cast in July. Since then, Seth Stewart has played the role.) But Mr. Iglehart said he wouldn’t be daunted by tongue-twisting lyrics at high speed. After all, he added, the song “Friend Like Me” in “Aladdin” is similarly challenging, and “I’ve been running my lips over those words for a long time.” Mr. Iglehart had his debut on Broadway as a replacement cast member in “The 25th Annual Putnam County Spelling Bee” in 2007, and later starred in the Tony-winning “Memphis.” On television, he has appeared on Netflix’s “Unbreakable Kimmy Schmidt” (as the rival of Titus Andromedon, played by the Broadway actor Tituss Burgess) and will be in a coming Disney Channel series based on the animated film “Tangled.” C1 January 16, 2017 Hot on the Trail of ‘La La Land,’ Here Come More Movie Musicals By Brooks Barnes LOS ANGELES — Dead. Embalmed. Buried. A year ago, that is what most movie studios would have said about live-action musicals, pointing to a long line of box office calamities: “Rock of Ages,” “Burlesque,” “Jersey Boys,” “Across the Universe,” “Nine.” The few out-and-out successes in recent decades have been adaptations of Broadway classics (“Les Misérables,” 2012) or marketed in misleading ways. When 20th Century Fox was selling Baz Luhrmann’s hit “Moulin Rouge!” in 2001, the studio was so afraid that people would stay home if they knew it was a musical that the trailer rather awkwardly tried to avoid singing at all costs. But Hollywood, excited in part by the critical and commercial success of “La La Land,” which cost Lionsgate $30 million to make and has taken in $132 million worldwide as it streaks toward the Academy Awards, is taking out its jazz hands again. There are roughly 20 musicals in the works at studios, according to the film database IMDBpro. Some are live- action adaptations of classic animated musicals, like “Beauty and the Beast,” directed by Bill Condon and set for release by Disney in March. Others are films (among them, “Wicked”) based on contemporary Broadway hits. Moreover, several studios — for the first time since the 1990s — are devoting meaningful resources to break- into-song films with original music. This year, Fox will release “The Greatest Showman,” which stars Hugh Jackman as the circus impresario P. T. Barnum; it has a dozen original songs. Disney has “Bob the Musical,” about a man whose life becomes filled with song after a head injury. Universal Pictures won a bidding war for an untitled musical comedy starring Josh Gad, with original songs by the composer-lyricists Alan Menken and Stephen Schwartz. There are several reasons for renewed studio interest, said Marc Platt, a “La La Land” producer whose other projects include an original song-and-dance film that will star Will Ferrell and Kristen Wiig and a sequel to “Mary Poppins” with a new score. “Thankfully, as much as Hollywood is interested in brands, I think people are still looking for originality and freshness,” Mr. Platt said. “Musicals can also be their own brand: They have an event status. I also think the ceiling on the audience is lifting. You’ve got a new generation of fans who have grown up with television shows like ‘Glee.’” Mr. Platt added, “Music has a way of getting inside all of us and lifting us up.” Put another way, there is an inherent entertainment proposition in musicals, a heightened emotional experience that people go to the movies to find. Mr. Platt, a former senior executive at Universal (and the father of Ben Platt, star of the hit stage production “Dear Evan Hansen”), has in many ways become Hollywood’s go-to producer of movie musicals. In 2014, he shepherded Disney’s adaptation of the Stephen Sondheim musical “Into the Woods,” which took in $213 million worldwide. As a major force behind “Wicked” on Broadway, Mr. Platt is working with Stephen Daldry (who directed the film version of “Billy Elliot”) to bring a movie version to theaters in 2019. “Yes, still on track,” Mr. Platt said of that long-gestating project. Nothing fuels a Hollywood boom (or a boomlet, as the case may be with musicals) like a track record of success. And some studio executives said that they were becoming more open to musicals because the animated variety had experienced such a renaissance. “Frozen” was a monster hit, selling $1.3 billion in tickets worldwide. Over the past few months, three animated musicals — “Sing,” “Moana” and “Trolls” — have taken in a combined $1 billion at the global box office. Disney will release a singalong version of “Moana” (with lyrics on the screen, karaoke style) on Jan. 27. Some studios have also had recent success with pseudo-musicals, including films like “Pitch Perfect” that rely on pop hits and mostly keep the singing to stage settings. Television may also be giving film executives confidence; specials like “The Wiz Live!” and “Grease: Live” have reintroduced break-into-song entertainment to a mass audience. Still, not everyone in Hollywood is convinced of a musical comeback. Kevin Goetz, chief executive of the film research company Screen Engine/ASI, said in an email that he had no research indicating increased demand. “I think it’s a long shot to think that animated movies with music, which have been around for years now, have a material effect in increasing the desire to see live-action musicals,” he added. If “La La Land” is an exception to the box office rules, it is becoming quite an exception. On social media sites like Instagram and Facebook, young people — no prompting from Lionsgate, it promises — have been uploading videos of themselves singing “Audition,” one of the film’s showcase numbers. During the past week, the soundtrack has shot up the sales charts. “La La Land,” starring Emma Stone and Ryan Gosling as aspiring performers, won a record seven Golden Globe Awards on Jan. 8, including one for Damien Chazelle’s directing and one for Justin Hurwitz’s score. Powered by that publicity pop, the film took in about $14.5 million over the weekend (its sixth in release) in North America. The producers of “La La Land” also include Jordan Horowitz and Fred Berger. The weekend’s No. 1 film was the feel-good drama “Hidden Figures,” which collected a strong $20 million. Produced by Chernin Entertainment and Levantine Films and released by Fox, “Hidden Figures” has a domestic total after four weeks of about $54.8 million. C1 January 16, 2017 Review: ‘The Beauty Queen of Leenane’: Oh Gosh, I’ve Turned Into My Mother By Ben Brantley The world has opened up for the poisonously insular mother and daughter of Martin McDonagh’s “The Beauty Queen of Leenane,” which has been given an expansive revival at the Brooklyn Academy of Music. For starters, the rural Irish digs shared by Mag and Maureen Folan, one of the nastiest family units ever to grace (or disgrace) a stage, are larger than when this satanically funny pair first arrived in New York nearly two decades ago. As seen at the Atlantic Theater Company — and subsequently on Broadway — in 1998, “Beauty Queen” placed its characters in a clammy, coffinlike home that seemed a natural breeding ground for mildew and hostility. In this latest version — directed, as the original was, by Garry Hynes for the Druid company — their shabby living quarters stretch beneath a vast expanse of sky, hinting hopefully at life beyond the tight little town of the title. Such a change in perspective, the work of the set designer Francis O’Connor, fits the cathedralic dimensions of the stage at the Academy’s Harvey Theater, where the production runs through Feb. 5. But the enlargement isn’t only physical. The four characters of this early work by Mr. McDonagh, an Anglo-Irish dramatist with a wit as hard and black as anthracite coal, also appear to have grown a few sizes. They’re more overtly comic than they were before and less likely to disturb an unsuspecting audience.
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