Way back in 2014, co-creator Nikka Graff Lanzarone and I sat down with Lin-Manuel Miranda. This was before Hamilton, before Moana, before Mary Poppins Returns, before DuckTales when he was merely a Tony Award winning composer with three Broadway shows under his belt. When we talked with him he shared why he chooses to deploy an ensemble, the process of writing In The Heights (now in production as a motion picture) and his first steps in writing the opening for Hamilton.
On this week’s show, Jamie and Rob dive back into their special three part mini-series looking at some of the biggest Broadway musical hits of all time. In part two, they visit Rydell High, a little orphan named Annie, and perhaps two of the greatest musicals ever.
The Pulitzer’s lineage shows a healthy appreciation for turning a mirror on society. And just like Of Thee I Sing and How To Succeed, Hamilton uses humor to portray many of the serious issues facing our nation’s creation and governance – both in the 1700s and today.
Stephanie Klemons is the Associate Choreographer and Global Dance Supervisor of Hamilton. She was part of the process as it grew from a small idea to an international phenomenon with six companies world wide. In addition to being a member of the original cast, she now works to cast the multiple productions of Hamilton. She’s also a choreographer in her own right, working right now on Rock of Ages at Pittsburgh CLO. She does all of this on top of being a wife and mother.
It’s first incarnation may have been 10 years ago, but in a surreal case of art mirroring life, their show which takes place in a world where it’s too dangerous to go outside is more relevant than ever.