HAMILTON Previews — Page 2
#27
Posted: 1/23/15 at 1:29pm
I'm almost positive that all the tickets for the first preview were distributed through the free lottery so Whizzer wouldn't be guaranteed a ticket. Cut the guy some slack. If you're that interested in someone's opinion maybe go see if yourself and have one.
"Pardon my prior Mcfee slip. I know how to spell her name. I just don't know how to type it." -Talulah
#28
Posted: 1/23/15 at 1:33pm
^ That's not true. They don't hold the entire house for the free lottery. It was on sale just like all the other performances.
#29
Posted: 1/23/15 at 2:52pm
Clyde I am going on Wednesday next week. Once again I am just surprised he/she was not there at all so far. I am very capable of forming my own opinion and will be all over it next Wednesday.
#30
Posted: 1/23/15 at 3:10pm
^ That's not true. They don't hold the entire house for the free lottery. It was on sale just like all the other performances.
Are you sure about this? I bought my ticket for Saturday night the day tickets went on sale and the box office said they weren't selling any tickets for first preview.
Are you sure about this? I bought my ticket for Saturday night the day tickets went on sale and the box office said they weren't selling any tickets for first preview.
#31
Posted: 1/23/15 at 3:34pm
"^ That's not true. They don't hold the entire house for the free lottery. It was on sale just like all the other performances."
Clyde is right I believe. From what I heard, TodayTix had control of all of the tickets for the first preview and distributed them to industry insiders, actors, directors, writers, and then held a large group of them for the public lottery they did as well.
Clyde is right I believe. From what I heard, TodayTix had control of all of the tickets for the first preview and distributed them to industry insiders, actors, directors, writers, and then held a large group of them for the public lottery they did as well.
#32
Posted: 1/23/15 at 3:47pm
I thought it was for sale online when I bought mine. But maybe I'm misremembering. Okay.
#33
Posted: 1/23/15 at 10:22pm
Does anyone know how many tickets are distributed per performance for the $20 lottery at the Public?
#34
Posted: 1/24/15 at 6:52pm
I tried the in-house lotto tonight and lost. They only sold 10 tickets, but the woman said it's different every night. I'm not good with estimating numbers, but I'd put the crowd around 100. Maybe less.
#38
Posted: 1/24/15 at 11:53pm
Sorry, totally missed the end of that post for some reason.
#39
Posted: 1/25/15 at 1:16pm
They have a 10 doller lottery for this show on today tix you can get 20 dollers off a purchase if you use the code Tajpd
#40
Posted: 1/25/15 at 6:00pm
I saw the show today and think it is incredible. All the elements work together to tell both a personal story and a national story in a very satisfying way. The only quibble I might have is with the ending.
The score is beautiful, with many memorable melodies. I had to get used to all the rapping, yes. It's a bit jarring at first (at least to me) that historical figures dressed in 18th century garb are singing in such a modern style. And the language is often startling too. But I soon accepted this mode of expression and kind of forgot about it. The choreography is amazing, with nearly continuous movement on the part of a hardworking ensemble that suits the story and adds excitement without being intrusive. My hat's off to choreographer Andy Blankenbuehler. I think he got it just right. The staging was very interesting too, making good use of a complex turntable. Everything else was well done too, the scenic design, costumes, sound design, lighting, etc.
And what great performances from the multiracial cast, which is not a descriptive you think of in connection with the Founding Fathers. Miranda held his own very well, and Brian D'Arcy James was hilarious as King George. I very much enjoyed Daveed Diggs as Lafayette in Act 1 and Thomas Jefferson in Act 2. Phillipa Soo and Renee Elise Goldsberry were excellent as the Schuyler sisters. Leslie Odom Jr. turned in a solid performance in what is probably a thankless role. I can't fault anyone's performance.
Two quibbles: I'm not how effective the ending is. SPOILER ALERT…After the duel, I said to myself, how is he going to end this? And then I thought Miranda's solution was a bit underwhelming. Basically, Hamilton's wife is front and center at the end and sums everything up, American Graffiti style. But after I thought about it a bit on the way home, I realized that it was a good way to emphasize the women's point of view in what is essentially a very masculine story. And I certainly can't suggest anything better! END SPOILERS
Another quibble is that the orchestra is completely hidden from view. I have no idea where they were! There's not much of a pit at the Newman, and I didn't see them in there. Plus, it must be a difficult score to play in that, like Les Mis, it's sung through and doesn't allow the musicians to rest. For all that hard work, they deserve some applause at the end. But that's just me; I like to see the orchestra.
I highly recommend seeing Hamilton. It does tend to lag a bit in the middle, but some cuts will take care of that. The running time was close to three hours. It will be interesting to see what lies ahead for this show.
The score is beautiful, with many memorable melodies. I had to get used to all the rapping, yes. It's a bit jarring at first (at least to me) that historical figures dressed in 18th century garb are singing in such a modern style. And the language is often startling too. But I soon accepted this mode of expression and kind of forgot about it. The choreography is amazing, with nearly continuous movement on the part of a hardworking ensemble that suits the story and adds excitement without being intrusive. My hat's off to choreographer Andy Blankenbuehler. I think he got it just right. The staging was very interesting too, making good use of a complex turntable. Everything else was well done too, the scenic design, costumes, sound design, lighting, etc.
And what great performances from the multiracial cast, which is not a descriptive you think of in connection with the Founding Fathers. Miranda held his own very well, and Brian D'Arcy James was hilarious as King George. I very much enjoyed Daveed Diggs as Lafayette in Act 1 and Thomas Jefferson in Act 2. Phillipa Soo and Renee Elise Goldsberry were excellent as the Schuyler sisters. Leslie Odom Jr. turned in a solid performance in what is probably a thankless role. I can't fault anyone's performance.
Two quibbles: I'm not how effective the ending is. SPOILER ALERT…After the duel, I said to myself, how is he going to end this? And then I thought Miranda's solution was a bit underwhelming. Basically, Hamilton's wife is front and center at the end and sums everything up, American Graffiti style. But after I thought about it a bit on the way home, I realized that it was a good way to emphasize the women's point of view in what is essentially a very masculine story. And I certainly can't suggest anything better! END SPOILERS
Another quibble is that the orchestra is completely hidden from view. I have no idea where they were! There's not much of a pit at the Newman, and I didn't see them in there. Plus, it must be a difficult score to play in that, like Les Mis, it's sung through and doesn't allow the musicians to rest. For all that hard work, they deserve some applause at the end. But that's just me; I like to see the orchestra.
I highly recommend seeing Hamilton. It does tend to lag a bit in the middle, but some cuts will take care of that. The running time was close to three hours. It will be interesting to see what lies ahead for this show.
Updated On: 1/25/15 at 06:00 PM
#42
Posted: 1/25/15 at 8:28pm
"The score is beautiful, with many memorable melodies."
I couldn't remember even one. Can you?
I couldn't remember even one. Can you?
#43
Posted: 1/25/15 at 10:23pm
Mac, I believe the orchestra is Stage Left on the second floor, behind the brick wall. That is where the company gestured during curtain call the night I saw it.
After Eight: I remember at least seven songs. I'm sorry that you don't.
After Eight: I remember at least seven songs. I'm sorry that you don't.
#44
Posted: 1/25/15 at 10:39pm
I am very eager to see this- more so because of the subject than the pedigree of those involved. All my questions right now would be about how and if they handled this, or that, or this other thing about Hamilton's life and career. His life was incredibly rich; it's sort of amazing it hasn't been dramatized before.
"...everyone finally shut up, and the audience could enjoy the beginning of the Anatevka Pogram in peace."
#45
" I remember at least seven songs. I'm sorry that you don't."
Vitamins,
It's ok. After hearing them once, I truly don't want to remember them.
Posted: 1/25/15 at 11:26pm
" I remember at least seven songs. I'm sorry that you don't."
Vitamins,
It's ok. After hearing them once, I truly don't want to remember them.
#46
Posted: 1/25/15 at 11:31pm
Saw the 8pm show, and was blown away. Hope this hits Broadway and sweeps the Tonys. It was amazing.
#47
Posted: 1/26/15 at 1:50am
Saw Hamilton tonight and I have A LOT to say... first off it is absolutely freaking brilliant! The audience was floored, they jumped to their feet screaming at the end. The two grey-haired ladies sitting next to me who talked a bit through the show were only saying amazing things about how impressed they were. The straight white guys chugging beer on the other side of me were singing the songs at intermission. People were dumb struck by what I think might just be a masterpiece when it's all said and done.
This thing is a massive undertaking of poetic brilliance; three hours of intense poetry and music that never once seems to drag or keep anyone uninterested. Of course, that doesn't mean I don't have notes. Just know that the following notes are SUPER nit-picky notes and come from a place of reverence and massive respect for this piece.
*****MAJOR SPOILER ALERTS*****
(Most of these are small fixes)
- The opening number is almost exactly like the one performed by Lin-Manuel at the White House except here it is broken up between several cast members. In the show, it felt like soooooo much exposition so quickly, that the number was half way over before the audience realized how carefully they were supposed to be paying attention. This issue might be solved by adding a small overture (though the show is already long enough) or adding some sort of attention grabber before Aaron Burr starts rapping to let us know we have to pay attention carefully. NATASHA, PIERRE... did this by literally warning us in the lyrics that there would be tons of characters and we had to pay attention.... it was even more distracting that the opening rap was split between so many characters. I think we would keep better track if Aaron Burr did the entire rap himself especially since he is the "judas" to Hamilton's "jesus." It seemed like a directors choice to split it up for choreography reasons which I don't think pay off. When the events of the exposition were reenacted behind the rappers, it was much more clear... I think they would benefit from adding more of this.
- The second number is intended to establish Hamilton as a maverick and introduce a whole bunch of characters who become important in the American Revolution. The song itself is great, but the text/lyrics of the song don't do enough to fill in the audience about what is going on historically. The war has already started, but that is not clear until several songs later. Though the female supporting characters quote the declaration of independence, Washington is not mentioned and Hamilton says "the revolution is coming." He doesn't say "the revolution has begun and I want to get involved." Maybe I am mistaken but it was unclear to me. This is part of the show that could use a little cutting and be made more concise and clear. I believe all the characters names were mentioned, but I quickly forgot who was playing what historical figure... this later became more confusing in the second act when they all became completely different historical figures without having extreme costume changes. There are enough talented people in the ensemble (many who have played leading roles on broadway but are doing ensemble here) that could have played the other historical figures in act 2... I don't think the characters need to be doubled up with such a large cast. (this probably can't get changed for this production, but it's something to consider when it gets to Broadway) It also might be made clear if Aaron Burr raps about the revolution some in his opening number...
- The ensemble was amazing, but the costumes were a bit weird. The ladies were dancing in corsets and pants but it looked like they were in their underwear and with the amazing choreography they were doing it seemed a shame that we didn't get to see dresses flying through the air when their legs flew through the air... that's just a preference though and has nothing to do with the libretto. Also the choreography is very courageous and some of it is like nothing I've ever seen before which is probably why it was so messy... but I'm sure it will be cleaned up through previews.
- The songs are all great, but they all end sort of anti-climatically with the performer just speaking a last line for emphasis... it made me miss the soaring, belty, held out, ending notes of IN THE HEIGHTS' songs. The end of Act 1 ends like this... it just sort of ends without any big shebang. I wanted a big bang of an act one ending like Fireworks in ITH. Act 2 does the same, but we'll get to that later...
- One of the most amazing parts of the show is SATISFIED when there is a flash back that reveals Angela Shuyler's love for Hamilton. I got goosebumps all over and this story seemed to be leading to something bigger that never came in act 2... Because right as Angela returns to America, Hamilton has an affair with another woman. I think it needed to at least be addressed... we needed to know how she felt about that in her reprise of SATISFIED... instead she only sings that her sister's feelings come first... but I wanted to know what her feelings were... and I wanted to know what Hamilton's feelings were for Angela... never happened.
- The third duel scene (Alexander's death) is mind blowing... he raps a cappella and in slow motion and the universe seems to stop... but then afterwards, Aaron Burr just sort of shrugs his shoulders and that's the last we hear from him.... until Hamilton's wife comes on stage and tells you all the great stuff she did for him after he died. It's very nice and when she sings about orphans my eyes began to tear up... However it sort of just kind of goes flaccid at the end and the lights go out... very undramatically. It seems like the cast needs an anthem to sing at the end... some kind of song that holds the DNA of the show but sends the audience out with a mission to accomplish... Maybe something about standing up for something, or having beliefs because Aaron Burr didn't stand for anything but himself... it just needs to be tied together somehow with a nice "let the sunshine in" moment.
- The cast is superb! Lin Manuel is breath taking as a father mourning a son, and Leslie Odom Jr is chilling as Aaron Burr... everyone is top notch especially the ensemble. Renee Elise GOldsberry is stunning and steals the show with SATISFIED as does Brian Darcy James as King Richard... any of those actors could be looking at Tony awards next year...
- The set is adequate though it sometimes feels like something is missing that paints a picture of the time and place. Without much costumes or set everything is really up to our imagination, and at times we don't have enough information about the events going on to really imagine. I honestly wouldn't mind screen projections with time and place... and pictures of what was going on during that time... I know we complain a lot of about using those in shows, but I think they would actually come in handy here.
- I don't mind at all the post-modern tropes of mixing contemporary music and linguistics for a period piece so that didn't bother me one bit. Call me a post-modernist!!!
Overall the show is like nothing I've ever seen before... EVER... it's as if IN THE HEIGHTS had a baby with NATASHA, PIERRE... and HAMILTON popped out. I can't wait to see what he changes before it goes to Broadway.
This thing is a massive undertaking of poetic brilliance; three hours of intense poetry and music that never once seems to drag or keep anyone uninterested. Of course, that doesn't mean I don't have notes. Just know that the following notes are SUPER nit-picky notes and come from a place of reverence and massive respect for this piece.
*****MAJOR SPOILER ALERTS*****
(Most of these are small fixes)
- The opening number is almost exactly like the one performed by Lin-Manuel at the White House except here it is broken up between several cast members. In the show, it felt like soooooo much exposition so quickly, that the number was half way over before the audience realized how carefully they were supposed to be paying attention. This issue might be solved by adding a small overture (though the show is already long enough) or adding some sort of attention grabber before Aaron Burr starts rapping to let us know we have to pay attention carefully. NATASHA, PIERRE... did this by literally warning us in the lyrics that there would be tons of characters and we had to pay attention.... it was even more distracting that the opening rap was split between so many characters. I think we would keep better track if Aaron Burr did the entire rap himself especially since he is the "judas" to Hamilton's "jesus." It seemed like a directors choice to split it up for choreography reasons which I don't think pay off. When the events of the exposition were reenacted behind the rappers, it was much more clear... I think they would benefit from adding more of this.
- The second number is intended to establish Hamilton as a maverick and introduce a whole bunch of characters who become important in the American Revolution. The song itself is great, but the text/lyrics of the song don't do enough to fill in the audience about what is going on historically. The war has already started, but that is not clear until several songs later. Though the female supporting characters quote the declaration of independence, Washington is not mentioned and Hamilton says "the revolution is coming." He doesn't say "the revolution has begun and I want to get involved." Maybe I am mistaken but it was unclear to me. This is part of the show that could use a little cutting and be made more concise and clear. I believe all the characters names were mentioned, but I quickly forgot who was playing what historical figure... this later became more confusing in the second act when they all became completely different historical figures without having extreme costume changes. There are enough talented people in the ensemble (many who have played leading roles on broadway but are doing ensemble here) that could have played the other historical figures in act 2... I don't think the characters need to be doubled up with such a large cast. (this probably can't get changed for this production, but it's something to consider when it gets to Broadway) It also might be made clear if Aaron Burr raps about the revolution some in his opening number...
- The ensemble was amazing, but the costumes were a bit weird. The ladies were dancing in corsets and pants but it looked like they were in their underwear and with the amazing choreography they were doing it seemed a shame that we didn't get to see dresses flying through the air when their legs flew through the air... that's just a preference though and has nothing to do with the libretto. Also the choreography is very courageous and some of it is like nothing I've ever seen before which is probably why it was so messy... but I'm sure it will be cleaned up through previews.
- The songs are all great, but they all end sort of anti-climatically with the performer just speaking a last line for emphasis... it made me miss the soaring, belty, held out, ending notes of IN THE HEIGHTS' songs. The end of Act 1 ends like this... it just sort of ends without any big shebang. I wanted a big bang of an act one ending like Fireworks in ITH. Act 2 does the same, but we'll get to that later...
- One of the most amazing parts of the show is SATISFIED when there is a flash back that reveals Angela Shuyler's love for Hamilton. I got goosebumps all over and this story seemed to be leading to something bigger that never came in act 2... Because right as Angela returns to America, Hamilton has an affair with another woman. I think it needed to at least be addressed... we needed to know how she felt about that in her reprise of SATISFIED... instead she only sings that her sister's feelings come first... but I wanted to know what her feelings were... and I wanted to know what Hamilton's feelings were for Angela... never happened.
- The third duel scene (Alexander's death) is mind blowing... he raps a cappella and in slow motion and the universe seems to stop... but then afterwards, Aaron Burr just sort of shrugs his shoulders and that's the last we hear from him.... until Hamilton's wife comes on stage and tells you all the great stuff she did for him after he died. It's very nice and when she sings about orphans my eyes began to tear up... However it sort of just kind of goes flaccid at the end and the lights go out... very undramatically. It seems like the cast needs an anthem to sing at the end... some kind of song that holds the DNA of the show but sends the audience out with a mission to accomplish... Maybe something about standing up for something, or having beliefs because Aaron Burr didn't stand for anything but himself... it just needs to be tied together somehow with a nice "let the sunshine in" moment.
- The cast is superb! Lin Manuel is breath taking as a father mourning a son, and Leslie Odom Jr is chilling as Aaron Burr... everyone is top notch especially the ensemble. Renee Elise GOldsberry is stunning and steals the show with SATISFIED as does Brian Darcy James as King Richard... any of those actors could be looking at Tony awards next year...
- The set is adequate though it sometimes feels like something is missing that paints a picture of the time and place. Without much costumes or set everything is really up to our imagination, and at times we don't have enough information about the events going on to really imagine. I honestly wouldn't mind screen projections with time and place... and pictures of what was going on during that time... I know we complain a lot of about using those in shows, but I think they would actually come in handy here.
- I don't mind at all the post-modern tropes of mixing contemporary music and linguistics for a period piece so that didn't bother me one bit. Call me a post-modernist!!!
Overall the show is like nothing I've ever seen before... EVER... it's as if IN THE HEIGHTS had a baby with NATASHA, PIERRE... and HAMILTON popped out. I can't wait to see what he changes before it goes to Broadway.
Updated On: 1/26/15 at 01:50 AM
#48
Posted: 1/26/15 at 5:51am
Reading all your reviews it makes me think of Venice, and how these two shows are similar in several ways. Did anyone see both and could compare them a little for me?
Sometimes you have to be a little bit naughty.
#49
Posted: 1/26/15 at 8:03am
^
Venice was a dark, loud, confused mess. A total mishmash.
This is far better, but with many problems. It's an ambitious undertaking, vast in scope, with some impressive aspects. Unfortunately, the subject resists the format, and so interest lags, and characters remain one-note, underdeveloped, and/or cartoonish.
Venice was a dark, loud, confused mess. A total mishmash.
This is far better, but with many problems. It's an ambitious undertaking, vast in scope, with some impressive aspects. Unfortunately, the subject resists the format, and so interest lags, and characters remain one-note, underdeveloped, and/or cartoonish.
#50
Posted: 1/26/15 at 8:52am
The problem with Venice is that it was one dimensional. Yes, they were both hiphoperas, but the characters in Venice rapped ONLY about exposition. They stood around and sang "Venice is going to do this, Venice is going to do that" instead of singing songs that showed us insight into what the characters were feeling while hiding the exposition which is one of the 6 rules of writing dialogue.
Per Chekhov: "Don't tell me the moon is shining; show me the glint of light on broken glass."
Venice was a lot of "telling me" that Venice was great, but never SHOWING me how great Venice was. It was infuriating, though some of the staging and music were great.
After Eight does have a point, that a few of the characters are one dimensional and cartoonish, though I would argue that this is done on purpose... think of BLOODY BLOODY ANDREW JACKSON, another great post-modern piece!
Per Chekhov: "Don't tell me the moon is shining; show me the glint of light on broken glass."
Venice was a lot of "telling me" that Venice was great, but never SHOWING me how great Venice was. It was infuriating, though some of the staging and music were great.
After Eight does have a point, that a few of the characters are one dimensional and cartoonish, though I would argue that this is done on purpose... think of BLOODY BLOODY ANDREW JACKSON, another great post-modern piece!
Updated On: 1/26/15 at 08:52 AM
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