It wasn’t meant to be airing until late 2021 but the filmed version of the Broadway production of Hamilton will now be airing this summer. With the cinematic release of In The Heights being pushed back to next year, it means that Lin-Manuel Miranda will still get his chance to take over our households once again.
The film was made with the original Broadway cast (whom I was lucky to see) just two weeks before Miranda left the cast. And as it turned out, I saw Javier Muñoz as Hamilton so this means I’ll finally get to see Miranda delivering the music, lyrics and book he wrote and for which he has subsequently won every award going. Continue reading “News: Hamilton film to premiere on Disney+”
“Even mocking cheerleaders cannot hide the emptiness in my soul”
Before Hamilton, but after In The Heights, Lin-Manuel Miranda found the time to write the score to the musical adaptation of one of my legit favourite films, the Kirsten Dunst-starring high school cheerleader classic Bring It On. With Tom Kitt and Amanda Green, Miranda brings a defiantly 90s feel to the sound of Bring It On: The Musical, an interesting choice that doesn’t always necessarily work but is fascinating with it.
The story has been changed a little from the film from what I could make out but the bones of it remain the same – intense rivalries both within high school and with other high schools culminating the cheer-off of all cheer-offs at National where everyone has to ‘bring it’. And reflecting the urban diversity of this world, elements of pop, RnB and hip-hop are easily folded into the Broadway template make this modern, if weirdly dated, score.
What’s most interesting for me is the way in which you can hear elements of the Hamilton score in a kind of embryonic form in some of the numbers. The refrain of ‘It’s All Happening’ has definite pre-echoes in there and the chromatic scales in ‘Do Your Own Thing’ recall the young Philip learning French to please his father. There’s some powerful performances here from the leads Taylor Louderman, Ryann Redmond and Adrienne Warren, plus a notable turn from Elle McLemore as the villainous Eva but I don’t think it is a cast recording I’d be returning to in a hurry. (That said, I’d happily go see it on stage).
“I’m crossing the ocean and I just can’t wait”
Where to begin? Could anyone have expected the phenomenal success of Hamilton? Turning into the biggest Broadway hit of an age, accepting invitations to the White House, reinventing day queue culture, being the subject of made-up scandals, winning Grammys, all while radically challenging traditional notions of musical theatre. The build up of such hype has been thrilling to see but also poses questions like ‘could it really possibly be that good?’. And ‘how on earth does one get tickets for find out for oneself?’.
In short, the answers are yes and by booking months ahead in my case. I deliberately hadn’t listened to the original cast recording when it was released as I wanted to experience it for the first time on stage and knowing full well that I would get to see it one way or another, I also denied myself any of the multifarious online offerings so that the first I saw of Hamilton would be as the curtain rose at the Richard Rodgers Theatre. And I have to say the anticipation and delayed gratification was completely worth it – that said, I’ve struggled to write about the show in a satisfactory way (“I will never be satisfied…”) so treat this as an outpouring rather than a review. Continue reading “Review: Hamilton, Richard Rodgers Theatre”