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Post by charliec on Feb 4, 2016 13:47:57 GMT
The thing that has made it stand out for me above other shows is that when I listen to the cast recording I never want to skip anything. That's never happened with any show before; even the ones I really, really love. The way in which nerdy internet culture has adopted Hamilton fascinates me; it doesn't happen often on this scale- though I suspect Lin Manuel Miranda being a total fanboy about so many things helps!
Yes its not everyone's cup of tea, but if you are a school kid learning about the founding fathers and you get to learn history from a very modern sounding musical rather than a dull textbook then that must be thrilling. When I was at school and we studied Romeo and Juliet, everyone was totally obsessed with the Baz Lurhmann film version because it was a different, modern and exciting way to engage with a thing that's otherwise a bit dull to a teenager!
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Post by 49thand8th on Feb 4, 2016 15:08:02 GMT
Many hip-hop fans and (more commonly) theatre fans see Lin as "one of them," since he is a big nerd and is very unabashed about it. He's also a skilled networker and has a very charming personality. Some people might see these things as off-putting, but clearly they've done more to help than not.
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Post by primitivewallflower on Feb 8, 2016 5:12:44 GMT
I don't mind the popular obsession. There's plenty of other theatre out there to turn to when the Playbill coverage is excessive. But beyond that, it *is* a legitimately great show, it's not based on a movie or other franchise, it's pulling new people into musical theatre, and it's come about as close as breaking into the cultural zeitgeist as any Broadway show in decades. And I'm glad it was a show that stood out for its book, music, and cast diversity -- rather than, say, a big-name lead or dazzling special effects -- that did it.
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Post by viserys on Feb 8, 2016 6:07:29 GMT
I don't mind the popular obsession. There's plenty of other theatre out there to turn to when the Playbill coverage is excessive. But beyond that, it *is* a legitimately great show, it's not based on a movie or other franchise, it's pulling new people into musical theatre, and it's come about as close as breaking into the cultural zeitgeist as any Broadway show in decades. And I'm glad it was a show that stood out for its book, music, and cast diversity -- rather than, say, a big-name lead or dazzling special effects -- that did it. This. I'm avoiding most Hamilton stuff online now (including this thread) because I want to prevent myself from getting sick of all the overblown hype. I enjoyed it a lot in New York and want to be able to still look forward to it coming to London. It's not just that there are hardly any "skippable" tracks but that the lyrics are an absolute joy which I find incredibly rare this day. Smart and clever, funny way more often than I had expected, very modern while still staying true to the founding fathers who sing/rap them. It may be an age thing too - I've been a musical lover for nearly 30 years now and so many new shows that open have become so utterly predictable with a a mix of chorus number, big ballad for female lead, big ballad for male lead, duet, and so on and usually in the same vaguely pop-musicalish style that started with ALW and Les Mis without even coming close to the quality of those songs. And suddenly here's Hamilton, something completely new and fresh, that blows everything else out of the water. Is it the "greatest musical ever" - nope, definitely not. Is it worth $549 - nope, no show on earth is. But to me it just feels like the best-crafted show in ages and a refreshing departure from "the usual" style. |
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Post by primitivewallflower on Feb 8, 2016 6:50:43 GMT
I've been a musical lover for nearly 30 years now and so many new shows that open have become so utterly predictable with a a mix of chorus number, big ballad for female lead, big ballad for male lead, duet, and so on and usually in the same vaguely pop-musicalish style that started with ALW and Les Mis without even coming close to the quality of those songs. And suddenly here's Hamilton, something completely new and fresh, that blows everything else out of the water. Yes. To add to that, after the oversaturation of comedies in the 2000s, it's refreshing to see an earnest, dramatic show do so well. Of course, if that combination catches on with other shows (again) then it will probably become insufferable (again), but I'm enjoying the moment now. Finally, it's a bit silly to debate Hamilton's place in musical history when *it literally opened off-Broadway a year ago.* Nothing tests timelessness quite like time. I suspect that it won't age as well as the upper echelon classics of musical theatre. Then again, who knows; had I been around at the time it opened, I may have made the same argument about, say, the jazz in West Side Story. And I would have been very, very wrong. |
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Post by horton on Feb 8, 2016 10:50:32 GMT
Every generation has to have its BIG NEW THING!
From A Chorus Line, to Phantom to Rent, there have been shows and probably some even before that) where the 'greatest musical ever' hype goes into overdrive.
People will get over it in a couple of years.
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Post by dgjbear on Feb 8, 2016 12:20:54 GMT
I think Rent is a good example I remember being in NYC and getting a ticket for that shows last Broadway preview. The city was going nuts for it; and I quite liked it when I saw it as well. But Hamilton seems be along the same lines. I like the CD and have listened to it a lot. But like Rent, I'm not sure it will translate outside of the states where I don't think we will be as engaged by the plot or characters in the show. Also hip-hop changes rapidly. So there is a danger that the sound of this could date quite quickly. Having said that, the staging looks great so I will be getting a ticket as and when they are announced in the west end.
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Post by infofreako on Feb 16, 2016 6:03:00 GMT
The grammy for best musical theatre album and performance of alexander hamilton wont do it any harm. Wonder if it will make the cut for the broadcast on 4music tonight
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Post by Michael on Feb 16, 2016 6:16:20 GMT
Apart from a few terribly overpriced resale tickets, Hamilton's current booking period (until January 2017) is completely sold out. I could make a fortune by reselling my ticket...
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Post by infofreako on Feb 16, 2016 7:09:38 GMT
Youre tempted?
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Post by Michael on Feb 16, 2016 7:21:57 GMT
Not really. Too excited to finally see what all the buzz is about. It was just a spur-of-the-moment thing when I saw that "my" seat (for which I paid a whopping $192) is resold directly on Ticketmaster for $800 - and others for $2000.
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Post by Deleted on Feb 16, 2016 8:20:21 GMT
I'll be honest I was tempted to sell my pair which would pay for a trip to NY (well a fair chunk of it!) But really, I want to see it again and I refuse to contribute to the ridiculous re-sale market on this one. I really wish Ticketmaster had capped it's re-sale tickets, because in principle it's a good idea to legitimately be able to re-sell, but really they're only concerned with the cut they presumably make from re-sale (do they? I don't actually know)
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Post by infofreako on Feb 16, 2016 9:29:57 GMT
They definitely take a cut. 10-15% rings a bell
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Post by Deleted on Feb 16, 2016 9:59:01 GMT
Ah ha, assumed they did just wasn't sure what the % was. That's a hell of a profit on these resales alone though.
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Post by infofreako on Feb 16, 2016 10:23:10 GMT
It is. Especially as.theyve already had the ticket money once
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Post by horton on Feb 16, 2016 10:40:37 GMT
So they've just brought ticket touting in-house. One of the most disgusting "innovations" yet.
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Post by Deleted on Feb 16, 2016 10:49:55 GMT
Sort of downright criminal extortion if you ask me. The ticket-selling industry requires heavier regulation to stop people thinking that tickets being sold at a huge mark-up is okay. While there'll always be a genuine market for re-selling (people who can't attend a sold-out performance, thinking of the returns queue), if they're allowed to sell at such a mark-up, then people are going to buy tickets *just* to re-sell them. And, indeed, people ARE buying tickets just to re-sell them! If tickets were only ever allowed to be sold at face-value (with a strictly enforced minimal processing fee) then the touts would have to find some other way to make a profit, the re-sell market would be much more based around genuine needs to pass a ticket on, and tickets wouldn't sell out quite so obscenely quickly because only people who are genuinely planning to see the show would be buying, and they would only be buying as many as they need.
(Yeah, preaching to the choir, but it makes me so ANGRY that people are being exploited like this.)
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Post by Deleted on Feb 16, 2016 11:01:00 GMT
Oh 100% and also it disadvantages those who do just want to re-sell for genuine reasons with fears over tickets becoming invalid as a result of potential crackdowns on profit re-selling. I'm all for an automated re-selling at face value via the ticket vendors (I'm thinking an online version of ringing the theatre to return a ticket) but this approach just legitimises touts.
I also find it quite disturbing that there are companies you can pay to 'line sit' for you to get return tickets (BWW Hamilton thread has a lot on this) again dividing those genuine fans who are willing to sit it out etc, and those who are just willing to pay whatever it takes to see the 'in' show. Sad times.
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Post by RudyGrey on Feb 17, 2016 5:20:03 GMT
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Post by chrismis on Feb 17, 2016 8:25:00 GMT
WOW! Thanks for posting this. It looks amazing. Hope we don't have to wait too long to see it over here! Just hope the price of tickets won't be too ridiculous when it does arrive! |
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Post by PalelyLaura on Feb 17, 2016 10:13:58 GMT
It looks fantastic! Got the cast recording last week and can't stop listening to it. I've watched this clip several times already - can't wait for it to come to London! |
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Post by primitivewallflower on Feb 17, 2016 18:31:38 GMT
Having listened to the cast recording umpteen-thousand times by now, it's jarring to see it actually staged. I'm going next week and absolutely can't wait. |
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Post by 49thand8th on Feb 17, 2016 19:01:17 GMT
I also find it quite disturbing that there are companies you can pay to 'line sit' for you to get return tickets (BWW Hamilton thread has a lot on this) again dividing those genuine fans who are willing to sit it out etc, and those who are just willing to pay whatever it takes to see the 'in' show. Sad times. You have a good point, but there are genuine fans who have jobs nearby who can't get out in time, who might live close but not super close (Westchester, further-out New Jersey, Long Island, etc...). They may have the same amount of love and desire to see the show as someone who lives 5 minutes away, but have other constraints and are able to afford a line-sitter. |
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Post by Deleted on Feb 17, 2016 19:12:41 GMT
That is a fair point granted, just the impression I got from hearing about them was that it was yet another way for those who could afford to to get an 'edge' on others. Of course I'm not saying having means doesn't mean someone isn't a "real fan" but it is another 'pricing out' of people from seeing the show.
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Post by Michael on Mar 8, 2016 17:51:59 GMT
All you ever wanted to know about our German chancellor - done the Hamilton-opening-number way: (found on hamiltonworld.com broadwayworld.com) |
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