The first question people ask when they learn I’ve seen “Hamilton” is not “How’d you like it? but “How’d you get tickets?!”
Eat your heart out and hang on to your breeches.
You, too, can buy tickets — for next February, if you don’t dilly-dally. Don’t throw away your shot.
The “Hamilton” hype has been so overwhelming that I intended to share its shortcomings, but I can’t think of any. What falls short are my efforts to describe what makes it dazzling, ingenious, entertaining and moving.
So I’ll let Adam Feldman do it.
Feldman wrote a story for timeout.com in July 2015 – the same month I bought the tickets for a March 2016 matinee – that succinctly and intelligently explains why “Hamilton,” is so wonderful and important. His piece was posted after the show’s successful off-Broadway run as it headed into previews at the Richard Rodgers Theatre, and it’s still well worth reading.
Confession: I didn’t read his article until this month. Even more shameful confession: Last July, everything I knew Founding Father Alexander Hamilton would fit in the margins of a ten-dollar bill (he was an orphan immigrant who died in a duel with Aaron Burr — what is wrong with men, thinking duels are a good idea?) and I knew nothing at all about Lin-Manuel Miranda, the game-changing musical storyteller, writer, composer, lyricist and actor.
Lucky for me, I know people who know theater, who love theater, and who plan ahead.
That’s how I got tickets.
Broadway is a treat, and while the $140 I paid for Orchestra Row T wasn’t cheap, it was a relative bargain (and less than some tickets for shows at Proctors in Schenectady).
The show was thrilling in every respect — the tempo, lyrics, music, costumes, choreography and, last but not least, color of its cast. The theater world needs diversity in its casts and audiences. “Hamilton,” I hope, will help promote colorblind casting and encourage more diverse audiences, too.
At the performance I saw, Alexander was played by Javier Munoz, who previously followed Miranda in the lead role of Miranda’s first Broadway hit, “In the Heights.” Munoz was a wonderfully driven, serious, sexy Alexander. Munoz was good enough to play the role when President Obama (sitting next to Miranda) saw it for the first time. Good enough for Obama, good enough for me!
The show was the main part of a perfect day in New York City that included a brisk but sunny walk along the Highline, the defunct raised tracks-turned-park/walk; a pre-show venti Frappuccino and a post-show venti latte; and a truck vendor’s warm, most, not-too-spicy falafel sandwich for the ride home.
The caffeine has finally warn off, but not the excitement of the show, whose soundtrack I have been playing (and, when no one else is home, singing and dancing to) for weeks.