I hope if they do a Hamilton performance for the Tonys they pick something with the women of the show. It seems most of the TV/YouTube/White House things we've seen have been the title track or other mostly male song. I'd LOVE to see Helpless or Take a Break but even The Schuyler Sisters would be a welcome change.
hamilton and burr's lives were intertwined to the point that, if their story were fiction, it would be universally shit on for being overly contrived
I just started reading through this thread. Is this a thing?
Hamilton and Burr essentially had the same career in the same city (on the same street) throughout their lives. They were colleagues throughout their lives, so it isn't actually that surprising.
Well, except for the whole duel thing.
I was referring to how the two posts I quoted are very similar, not so much the content of them.
But yeah, it is funny how they run into each other. "We keep meeting."
@Raijin Quickfoot and @ThatDudeOverThere are intertwined to the point that if you made a movie based on their posts, people would universally shit on it for being unrealistic.
My copy of the Hamiltome arrived! Turns out you do get something if you wait for it.
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YggiDeeThe World Ends With You ShillRegistered Userregular
Honestly working on/in a musical sounds like one of the most stressful things I can imagine, like you have to be a singer AND an actor and maybe dance and you only get one take and then you do it every day for several years. In front of literally a thousand people. I'm getting nervous just thinking it. Do actors get hiccups onstage? Are you just quietly shot and replaced with an understudy if you sneeze during a solo? (I know this is only really tangentially related to Hamilton, but this is more or less all I think about when I'm in a theater.)
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UnbrokenEvaHIGH ON THE WIREBUT I WON'T TRIP ITRegistered Userregular
so there's a tumblr devoted to Hamilton/Game of Throne mashup memes, similar to the Arrested Westeros (Arrested Development/GoT) tumblr
Munkus BeaverYou don't have to attend every argument you are invited to.Philosophy: Stoicism. Politics: Democratic SocialistRegistered User, ClubPAregular
Today is my birthday.
My sister got me the Hamilton biography that was Lin-Manuel's inspiration for making Hamilton.
Holy shit, this thing is fucking huge.
Humor can be dissected as a frog can, but dies in the process.
Honestly working on/in a musical sounds like one of the most stressful things I can imagine, like you have to be a singer AND an actor and maybe dance and you only get one take and then you do it every day for several years. In front of literally a thousand people. I'm getting nervous just thinking it. Do actors get hiccups onstage? Are you just quietly shot and replaced with an understudy if you sneeze during a solo? (I know this is only really tangentially related to Hamilton, but this is more or less all I think about when I'm in a theater.)
now, my last musical was in high school, and i only did a few acting bits in college, but the most stressful bit for me was just before going on stage for the first performance. mostly because the production is untested, basically -- everyone involved to that point has been invested somehow, so that's when shit got real.
but practice pays off! the more you do it, the more you feel comfortable with your role and the flow of the production. that familiarity and the kick of adrenaline/endorphins gets you through most (figurative) hiccups. you've been breathing this for weeks if not months, and (assuming it's not a solo show), your castmates can cover for any wobbles. and it being only 'one take' works in your favor, because you just improvise or ignore a mistake and move on to the next beat.
a massive part of it is that you have to find that kind of thing a thrilling challenge instead of pure anxiety. it gets easier the more you do it, but it's still going to be an effort.
i think it would be exhausting to do that for an extended period, though. i'm not sure 2 weeks a year would be enough for me to recover mentally and physically.
I was once in a play where there was a dead body (specifically an arm) and my character at one point uses their foot to push it out of sight. We used a sleeve with a glove attached and when I did it on the first night the glove became detached so when I pushed it out of sight the hand stayed. I stared at it for a second, whispered "Really did a number on him" loud enough for the audience to hear and then pushed the hand away.
Raijin QuickfootI'm your Huckleberry YOU'RE NO DAISYRegistered User, ClubPAregular
I didn't need he already had an Emmy. He'll be an EGOT in a couple years.
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WACriminalDying Is Easy, Young ManLiving Is HarderRegistered Userregular
Not a musical, but a story about theatrical mistakes: I was once the lead in "Dial M for Murder" at my community theatre.
There's a scene early in the first act where this guy, Lesgate, comes to the apartment to try and finish selling me his car, but in reality I've lured him there so I can entrap him into killing my wife for me. But the scene slow-rolls the trap, it's a long, long conversation. At the start of the conversation, Lesgate is all, "Hey, don't I know you?" And I'm all, "Nah." Then much later in the conversation, he asks me again, "You seem familiar!" and that's when I reveal my identity.
One night, for no particular reason other than that I was just distracted I guess, I accidentally gave the second response to the first question.
Cue literally 20 minutes of us on stage all but improvising the rest of the scene on the fly, as we both know I completely fucked up, and we're trying to make sure the scene still flows the same way, ends in the same place, and provides all the information the audience is going to need to understand later developments. At all times, both of us were doing all these things in our heads at once:
1) Remembering our lines
2) Remembering our stage movements, our blocking, our gestures, our facial expressions
3) Reviewing the parts we skipped over to check for important information the audience needed to know
4) Working that information into our conversation as we went along
5) Responding appropriately to that information as it was introduced, out of order
6) Altering our lines such that we didn't reference any information we hadn't yet introduced
7) Trying to maintain a slow enough pace to give each other time to do numbers 1-6, without cluing the audience in that anything was wrong
At the end of the scene, we exited to backstage, looked at each other, and basically just went into shock together, like two people who just dodged a train.
But you know what? That shit was fun. And afterwards, I found out that we successfully concealed that single, truly massive fuck-up from the audience.
When I was in middle school we did a production of picnic, and I was Alan. There was a scene where I went into the house (backstage) to fetch my girlfriend, but she wasn't there. I paced nervously for a minute or two, until I went looking, and she couldn't get the zipper up on her dress.
There was some very very awkward adlibbing going on onstage while we fought it.
The comedy theater I worked at in high school tended to pull from the same group of actors for its casts, for like, 20 years, so usually in each play they did there was a good group of people who'd known each other for a while.
One of the plays had a character who sat at a desk and read for 99% of the play. The other characters mostly ignored him, and usually when they did notice him, they'd already forgotten who he was. He also mostly ignored everything going on (including arguments, blackouts, murders, ghosts manifesting in the elevator, etc), so they would try and get him to break character by slipping things like porn into the book.
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WACriminalDying Is Easy, Young ManLiving Is HarderRegistered Userregular
When I was in middle school we did a production of picnic, and I was Alan. There was a scene where I went into the house (backstage) to fetch my girlfriend, but she wasn't there. I paced nervously for a minute or two, until I went looking, and she couldn't get the zipper up on her dress.
There was some very very awkward adlibbing going on onstage while we fought it.
Oh, this happened too, in the same play!
During a lights-down scene change, the two stagehands who were clearing props got mixed up about which one of them was grabbing my jacket from the chair, so they ended up taking the jacket from my chair and from the rack. By the time they realized their mistake, lights were already up and the scene was on.
A few lines in, I realized my jacket was missing. That's a problem, because it had my props. Props including:
1) The tickets I have to openly display to my wife
2) The keys that the audience needs to see be hidden to set up the murder scene
3) My handkerchief which forms the basis for most of my character's gestures and fidgets
So that scene, there was a lot of careful angling to conceal the fact that I didn't actually have a key in my hands, a lot of extra drinking to give my hands something to do, and instead of showing my wife the tickets, a simple reach into the pocket and, "Yup, got 'em."
Towards the end of the scene, I poked my head out the "window" to check the weather, and the stagehands were back there, pointing towards the opposite side of the stage. I took this to mean my jacket was over there, so when the time came to leave, I said, "Honey, have you seen my jacket? Did I leave it in the bedroom?" I stepped off stage (ostensibly into the bedroom) aaaaaand...no jacket.
Turns out that when I thought the stagehands were pointing to stage right, they were actually pointing just to my side, near the window, where they'd hung the jacket on a hook. But that wouldn't have made sense anyway, because who reaches out a window and retrieves their jacket?
But while I was "in the bedroom", my wife said, "I'll check in here" and stepped into the kitchen, at stage left, where she was handed the jacket. And so all was well again.
Goddamn did we have some clusterfucks in that show.
That play was part of a series of plays they did, that were based on old black and white murder mysteries. And the plays were done in black and white.
One of them was a Christmas one, that included a scene with a small scraggly Christmas tree with ornaments.
About once a week during the scene change an ornament would get jostled off and shatter, so they'd have to sweep it up. A nice loooong scene transition. Good thing we had music.
By the end of the run that tree had maybe 2 ornaments left.
Posts
The Angelica meet-up gets me a little teary-eyed, too
@Raijin Quickfoot and @ThatDudeOverThere are intertwined to the point that if you made a movie based on their posts, people would universally shit on it for being unrealistic.
That's amazing
It makes so much sense in terms of the tone of the music.
Satans..... hints.....
and goddamn
https://hamilthrone.tumblr.com/post/143687275238
My sister got me the Hamilton biography that was Lin-Manuel's inspiration for making Hamilton.
Holy shit, this thing is fucking huge.
:!:
He will probably get the O from his work on Moana.
Just needs to make a TV show.
Tumblr | Twitter PSN: misterdapper Av by Satellite_09
Kindle!
He already has an emmy, though, right?
Yep, got it for the NPH raps he wrote for the Tony Award telecasts
a massive part of it is that you have to find that kind of thing a thrilling challenge instead of pure anxiety. it gets easier the more you do it, but it's still going to be an effort.
i think it would be exhausting to do that for an extended period, though. i'm not sure 2 weeks a year would be enough for me to recover mentally and physically.
no matter how bad you fuck up, just keep going. The worst thing you can ever do is stop
Steam | Twitter
Never stop for nothing in theater.
Tumblr | Twitter PSN: misterdapper Av by Satellite_09
One night, for no particular reason other than that I was just distracted I guess, I accidentally gave the second response to the first question.
Cue literally 20 minutes of us on stage all but improvising the rest of the scene on the fly, as we both know I completely fucked up, and we're trying to make sure the scene still flows the same way, ends in the same place, and provides all the information the audience is going to need to understand later developments. At all times, both of us were doing all these things in our heads at once:
1) Remembering our lines
2) Remembering our stage movements, our blocking, our gestures, our facial expressions
3) Reviewing the parts we skipped over to check for important information the audience needed to know
4) Working that information into our conversation as we went along
5) Responding appropriately to that information as it was introduced, out of order
6) Altering our lines such that we didn't reference any information we hadn't yet introduced
7) Trying to maintain a slow enough pace to give each other time to do numbers 1-6, without cluing the audience in that anything was wrong
At the end of the scene, we exited to backstage, looked at each other, and basically just went into shock together, like two people who just dodged a train.
But you know what? That shit was fun. And afterwards, I found out that we successfully concealed that single, truly massive fuck-up from the audience.
That was a great show.
There was some very very awkward adlibbing going on onstage while we fought it.
The comedy theater I worked at in high school tended to pull from the same group of actors for its casts, for like, 20 years, so usually in each play they did there was a good group of people who'd known each other for a while.
One of the plays had a character who sat at a desk and read for 99% of the play. The other characters mostly ignored him, and usually when they did notice him, they'd already forgotten who he was. He also mostly ignored everything going on (including arguments, blackouts, murders, ghosts manifesting in the elevator, etc), so they would try and get him to break character by slipping things like porn into the book.
Oh, this happened too, in the same play!
A few lines in, I realized my jacket was missing. That's a problem, because it had my props. Props including:
1) The tickets I have to openly display to my wife
2) The keys that the audience needs to see be hidden to set up the murder scene
3) My handkerchief which forms the basis for most of my character's gestures and fidgets
So that scene, there was a lot of careful angling to conceal the fact that I didn't actually have a key in my hands, a lot of extra drinking to give my hands something to do, and instead of showing my wife the tickets, a simple reach into the pocket and, "Yup, got 'em."
Towards the end of the scene, I poked my head out the "window" to check the weather, and the stagehands were back there, pointing towards the opposite side of the stage. I took this to mean my jacket was over there, so when the time came to leave, I said, "Honey, have you seen my jacket? Did I leave it in the bedroom?" I stepped off stage (ostensibly into the bedroom) aaaaaand...no jacket.
Turns out that when I thought the stagehands were pointing to stage right, they were actually pointing just to my side, near the window, where they'd hung the jacket on a hook. But that wouldn't have made sense anyway, because who reaches out a window and retrieves their jacket?
But while I was "in the bedroom", my wife said, "I'll check in here" and stepped into the kitchen, at stage left, where she was handed the jacket. And so all was well again.
Goddamn did we have some clusterfucks in that show.
One of them was a Christmas one, that included a scene with a small scraggly Christmas tree with ornaments.
About once a week during the scene change an ornament would get jostled off and shatter, so they'd have to sweep it up. A nice loooong scene transition. Good thing we had music.
By the end of the run that tree had maybe 2 ornaments left.
Hell, if his current track record keeps up he'll get it next oscars for a song in Moana.
Which I'd put money down that at least one song on that soundtrack is going to be incredible. Probably more than one.
Yeah but the villain song ain't gonna get the nom.
It'll be whichever song is about Moana attaining her dreams and growing as a person.
Or the one The Rock raps on.
I get that historically even though Disney villain songs are almost always the best songs, they're not the ones that get nominated
But this will be a Disney villain song written by the guy who wrote Wait For It and The Room Where It Happens
Tumblr | Twitter PSN: misterdapper Av by Satellite_09
"Pick a place to die where it's high and dry!"
Steam | Twitter
More like the King George series
LMM is very, very good at villain songs, and in Burr's case at humanizing the heck out of villains in song.