brdway411 said: "In the Heights is a retelling of Westside Story or Romeo and Juliet in modern day story fashion."
Say what now?!
"Hamilton is nothing more than an almost 3 hour Schoolhouse Rocks version of what happened with Hamilton and Burr. nothing ground breaking or brilliant there."
How did you manage to pick the one element that Lin didn't invent (what actually happened), and turn that into the whole of why it isn't that great?! Not that I would even agree with your assessment, since I don't recall ever thinking Schoolhouse Rock was bringing history to vivid life, and retelling an old story in a way that made it seem completely present, modern, and engaging.
Just the notion of an 832 page biography of a Founding Father being the source material for the hottest show on Broadway, commanding $352/seat for nearly a third of the orchestra, hundreds of people lining up for lotteries just to get in... that is crazy enough. And then once people get over all those hurdles to get in, they can't wait to go back again!
I guess it is easy to be dismissive and reductive in hindsight, but just the notion that it does exist seems to be sort of miraculous.
That said, I don't think it can change the future of Broadway since it is a very singular experience. Only Lin would read a bio of Hamilton, see him as the same light as a the gangster rap artists he grew up on, which then refits all of history into rap battles and all of these other new forms onto old archetypes. With dozens (hundreds?) of nods to the history of rap and the history of musical theatre thrown in, as well. Not to mention casting a bunch of slave owners with people of color, which sort of makes it alive and new in a different way.
If most people tried to do a third of that, they would likely fail and it would be an awkward mess. Lin somehow did it all, and flawlessly. All while being one of the most grounded, humble, self-effacing people I ever met... and while being one of the biggest champions of Broadway out there, turning the lottery to his own show into a celebration of the form of musical theater itself, with guests turning up to put spins on songs from Les Miz, Spring Awakening, and others, just to thank people for supporting his show.