Profile for decast

Read the first few pages of this, not all, so forgive me if I'm repeating what other have said. I doubt that if OP had walked up to the theatre just an hours before and had the chance for tickets, they'd happily stand aside for people who'd been waiting for four days. There's never a guarantee for anything, they're not legally required to give tickets to whoever been there the longest, you don't win a prize being daft enough to sleep out from Tuesday to

You guys have managed with Shakespeare and Billy Elliot amongst others, so I think us Brits can manage Hamilton. I don't see how a story about a period in American history (which actually incuded Britain) is any different from a story about a period in French history, Argentinian, Vietnamese, or a story set in Washington Heights or in the South Pacific. It's just another story, and it's brilliantly told, so I don't see why people don't think us Brits wouldn't '

There was also a lovely half hour making of programme. Very interesting, a real look at all the sets and just how beautifully made they are, all the plants and grass in the garden and on the mountain for instance were real. They had 13 days on the set to rehearse after leaving their church space, which explains why it worked so well. I felt for poor Kara, having 2 mic pacs hidden in her wig, and quick changes aside, they were running across a car park with umbrellas between sets. Coky's b

I'm the the UK, I saw the show last week when I was in NY and came  back raving about it to my mum. She's 65 and I suppose kind of cool, she likes Dylan and Cohen etc, and I used the fatal words 'hip-hop' and 'rap' when telling her about Hamilton and she sort of grumbled. But I showed her that 10 minutes of footage BWW has here and she was all "Oh this isn't rap, rap, not really, I was thinking it was something much more different, this looks amazing." Lyrically it's very dense and moves at a

A show, which has no star name attached, breaks into a more mainstream audience (and it has, I know people who have no interest in theatre who saw the Vogue article & want to see the show) and is (rightly) lauded and people line up to tear it down. Riedel has always seemed like a bitter little man to me anyway. You can't blame a show for using social media to it's benefit, if Anna wants to put it in Vogue, you don't say no. No one of forcing anyone to read anything about this show, to partici

I was there last night, it was a good night, but I just don't think the material is very good. I mean, if the likes of Sutton Foster can't lift it, but that said it had it's moments and it's impressive for something that has been put together in such a short space of time. I honestly, would watch Pasquale sing a phonebook or menu, so for me he stole the show, he really needs to do something back on Broadway soon, I kind of want him to do the Annie Get Your Gun concert with Megan Hilty too.&nb

As far as I can see, they've been pushing the show in all the right places. There's a definite following on social media, they had a great article in Vogue, they have a piece in this weeks Cosmo which actually profiles the performers, they're on the front of the NY Times today. I assume once things get going they'll be on tv shows. Jimmy Fallon loved the show so I wouldn't be surprised if they did something on his show. It does feel a little more than just the opening of another show, there's