Portland Public Library

Hamilton, the revolution, Lin-Manuel Miranda, Jeremy McCarter

eng

libretto or text

not applicable

not applicable

drama

Hamilton

not applicable

945354632

Lin-Manuel Miranda, Jeremy McCarter

the revolution

Lin-Manuel Miranda's groundbreaking musical Hamilton is as revolutionary as its subject, the poor kid from the Caribbean who fought the British, defended the Constitution, and helped to found the United States. Fusing hip-hop, pop, rhythm and blues, and the best traditions of theater, this once-in-a-generation show broadens the sound of Broadway, reveals the storytelling power of rap, and claims our country's origins for a diverse new generation. Hamilton: The Revolution gives listeners a view, unprecedented, of both revolutions, from the only two writers able to provide it. Miranda, along with Jeremy McCarter, a cultural critic and theater artist who was involved in the project from its earliest stages, "since before this was even a show," according to Miranda, traces its development from an improbable performance at The White House to its landmark opening night on Broadway six years later. Miranda, in addition, has written and recorded 300 funny, revealing footnotes for his award-winning libretto, the full text of which is published here. A PDF on the final disc features photos by the renowned Frank Ockenfels and Joan Marcus, veteran Broadway photographer; exclusive looks at notebooks and emails; interviews with Questlove, Stephen Sondheim, leading political commentators, and more than fifty people involved with the production; and multiple appearances by President Obama himself. The audiobook does more than tell the surprising story of how a Broadway musical became a national phenomenon: It demonstrates that America has always been renewed by the brash upstarts and brilliant outsiders, the men and women who do not throw away their shot. -- Container

On the origins of revolution, both national & musical, with reference to opening numbers & White House raps -- In which Tommy Kail is intorduced, and his adventures with Lin surveyed -- Giving the history of Ron Chernow, along with remarks on who may play a founding father -- In which the character of New York City is considered in its musical and scenic aspects, by reference to David Korins and a curious episode of historical vertigo -- Stakes is high; or, what happened at Lincoln Center and what came after, including lunch with Jeffrey Seller -- On the orchestrating techniques of Alex Lacamoire, with lively appearances by Van Halen, Elmo, and an actual Beatle -- On the character of George Washington and the character of Chris Jackson -- Concerning the lady and the tramp, in olden days and our own, with reference to "Helpless" and many songs that feature Ja Rule -- On the perfect union of actor and role, with allusion to Renée Elise Goldsberry -- The same subject continued, with allusion to Leslie Odom, Jr., plus remarks on the virtues and merits of union -- Wherin mobb deep is sampled, and the immortal Biggie Smalls is revived -- Of Oskar Eustis, his politics, his eventful career, his thoughts on verse drama, and his stewardship of The Public Theater, with a word about The Pharcyde -- On Phillipa Soo and the trouble with goodness -- On Paul Tazewell and the fashion of revolution -- By which it will appear that good history makes good drama, and in which Sebastian Miranda makes his debut -- On "Non-Stop," both the song and the way of life, as manifest by Andy Blankenbuehler and The Public Theater's props departmentIn New York you can be a new man, or, the story of Oak and Daveed -- An account of rapping for the children, who will one day rap for themselves -- Did they or didn't they? Or, some discourse on affairs -- In which advantages are derived from listening to the Broadway old masters and Jasmine Cephas Jones -- On being in "The Room Where It Happens" with the cast of A Chorus Line, plus a brief account of Nevin Steinberg bringing boom-bap to Broadway with speakers the size of refrigerators -- A picture of the recording studio, featuring learned comments by Questlove and a thrown shoe -- On the origin and persistence of our national shame -- Of Jonathan Groff, his royal character, his notable career, his dressing room décor &C. -- On killing your darlings, with reference to "The Adams Administration," the seductions of Ben Franklin, and songs on the cutting-room floor -- In which the hero blows up his spot, with the assistance of Howell Binkley's lights and other forms of ingenious stagecraft -- Giving an account of a hurricane, with a notable appearance by President Obama, and the remarkable rise of Anthony Ramos -- A grieving chapter: on losses beyond words -- Containing a dialogue on ambition, and some topical comments, from David Brooks and Christopher Hayes -- Further thoughts on ambition, as it pertains to the playwright and the enigmatic Burr -- How the duel was fought, and rewritten, and fought again, as the clock ran out -- What is a legacy? Or, a sketch of opening night, and what came after, and what might come next

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