Harcourt was pretty good, the audience was really into him. Overall I love the show especially for the way it is staged and the lighting but as much as I love American History I personally think this show will and is going over too many peoples heads. I love and am good at American History but the show done with basically all song which happens to be fast paced songs is really is hard to understand, Kinda disappointed with that, But still loved the show!
I'll be back in NYC in October/November and was amazed that even on those months the show only has "few seats left" on ticketmaster. Wow! I even checked the month of March 2016 and half the show's seats were already sold!
Does anyone know whether ticketmaster releases more seats as the date comes closer? Something fishy seems to be going on, hence why I asked that question.
As far as seats go, I was thinking of getting a mezz seat to get a full aerial view of the show. At $167 a ticket, I want the best seat possible for that price! Any advice/tips are welcomed.
^ To answer your questions... Ticketmaster will often release some premium seats a couple days before each performance. As for seating, the view from the mezzanine at the Richard Rodgers is great! I sat in the last row off to the side for If/Then and the view was great! However, I would recommend going with the front mezzanine as opposed to the rear mezzanine.
"There’s nothing quite like the power and the passion of Broadway music. "
I've been stalking ticketmaster and they've been releasing a smattering of premium seats and, less often, non-premium far side or rear orchestra, a day or two before the show. A couple of times the entire row w has gone on sale. I finally gave in and bought one of those for Monday.
I personally would choose orchestra over mezzanine for this show if you have a choice. For me, this is a show where I think being close to the performances really enhances the experience--especially for Leslie Odom Jr. whose performance is really subtle and beautiful. At the same time, it is not one of those shows where the big ensemble dances are the highlight (though, to be sure, the ensemble is full of lovely dancers). So, while for many shows I would choose center mezz as opposed to side orchestra, this isn't one of them. But everyone has different preferences, of course.
I'm also biased having seen the show from the 5th row at the public where you are eye level with the actors. Nothing will ever top that and I'm just trying to get as close to it as possible.
But I would sit in the Far side far rear mezz over not going to the show any day of the week.
The lottery is a lottery, the standing room is not. The reason for the $10 price is as a bow to the $10 bill. If you win the lottery, you would not buy SR. If you lose the lottery, you may wish you had gotten in line for the SR tix. Or not. The odds of the latter are, obviously, considerably higher.
Actually, the standing room is lottoed off as well following the initial 21 front row seats. All signs seem to point to this being the way they will continue to sell the standing room tickets after opening.
Saw it tonight with the Bidens in attendance. The "John Adams doesn't even have a real job" line got a big extended laugh with our current VP in the room where it happens.
Tonight was my first Hamilton and I was absolutely blown away. What a joy to see something so fresh, so brilliant, and so fun. (I had no idea it was so damn funny.) I was in Row W, and the audience was completely with the show, ooohing at the insults in the Jefferson/Hamilton policy rap battles, laughing, fully engrossed. I was frequently stunned at how brilliant the show is, truly a masterpiece. The performances are extraordinary, and I found it really moving to see a cast of mostly non-white actors killing it as the founding fathers.
Row W did have some short scenes on the second level cut off, although I could see them if I leaned down. My ticket was labeled partial view but cost full price. I don't think they should be charging full price, but on the other hand I don't regret paying it. It's a business and they'll charge what they can, I guess.
"getatme-they continue pulling names for SR after the front row is filled? "
Yep! Before the final front row tickets are claimed they announce they're going to continue calling names for some standing room spots (I believe there have been 6 spots for most shows since the first week of previews). They explain the pricing($40 cash or card) and that it is a slightly obstructed view. Then they just continue calling names until the standing room spots are claimed.
It does seem a little bit ridiculous to jump from $10 for a front row seat to $40 for an obstructed view standing room spot. Though, the people winning don't really seem to mind at all and most just appear excited to see the show.
I saw Hamilton last night, and I found it thrilling, living up to all the hype. For me, the standouts were Daveed Diigs, Renee Elise Goldsberry, and Leslie Odom, Jr. Is it assumed that Odom will be put into the supporting category come Tony time? One cold make a strong case for him as a lead.
"It does me no injury for my neighbour to say there are 20 gods or no god. It neither picks my pocket, nor breaks my leg."
-- Thomas Jefferson
Finally won lotto last night, and I agree with many of you here that the show has improved since the Public. I didn't know it was possible. Having Biden there was a treat but the real stars are everyone on (and behind) that stage. They work so hard to present us with such a raw, moving, educational, and smart piece. I hope and expect them to be in the Rodgers for a long time and truly believe they deserve all the praise they're getting (though yes, the random pointless headlines may be a bit much).
While I miss some of the minor things that were cut, harmonies and little lines here or there, I really appreciated the changes made (mentioned earlier in the thread). The biggest improvements are to Washington's character and the tension between Hamilton and Burr towards the end. "One Last Time" gives Washington the proper exit he deserves. I found it to be very emotional and made you realize that the new country is entering unknown and scary territory where new leaders have to emerge. I liked the Whiskey Rebellion in the old version of the song but it added a level of levity that seemed out of place so it was a good call to cut it. It allows the rest of the second act to flow seamlessly, and I found myself enjoying Act 2 much more this time around. The changes to “Your Obedient Servant” were also for the better in setting up the final duel. I miss the “Dear Thedosia” reprise. I know why it was cut but I always thought that song added another layer to Burr’s character that was important for his ultimate downfall. There is also now no mention of losing his wife until the duel, which may be easy to miss for someone who has never seen the show before.
Yes, it’s true that Lin-Manuel gives such an emotional performance. I hope he stays well-hydrated with the amount of tears in his eyes from the first song to the last. I enjoy his performance immensely but remember enjoying Javier at the Public just as much. Both men really find themselves in Hamilton. Leslie Odom, Jr. is giving such a powerful performance, even moreso than at the Public. Just one of his tears alone deserves a Tony nod. I love watching the fire build in his eyes over the course of the show. It gives me the chills. I hope his subtle and genuine performance reads as well from further back as it does from the front of the orchestra. Daveed Diggs also continues to improve and he knocks the Jefferson role out of the park. Jonathan Groff has settled comfortably into his role as Kind George. He finds great humor in his few minutes onstage without overdoing it. I still miss Brian D’Arcy James and the power behind his voice but Groff is excellent. Pippa Soo breaks my heart, she is that good. Her calmer, quieter, sweeter performance in Act 1 juxtaposes nicely with the louder, more aggressive characters and actors on that stage. Then in Act 2 she really takes off and shows that she isn’t just a girl with a rich father you marry for money. It’s so moving. Renee Elise Goldsberry is perfection in her role. She masters the complexity of Angelica and the position she is in in Hamilton’s story. Pay special attention to her in “Helpless” because it makes watching her “Satisfied” that much more meaningful. Chris Jackson was back, and this was the most I’ve enjoyed his performance. I think a lot of it has to do with the aforementioned changes made but he also sounded much stronger. I’m relieved that he has such a supportive group with his Hamilton family to raise him up during this time. It was nice to see him back for sure. Jasmine Cephas Jones – her voice is liquid gold. I feel like they cut some of her riffs in “Say No To This” and added more background singing. I’m not sure how I feel about that change, but it’s minor. Okierte and Anthony round up the principal cast nicely and have also perfected their roles since the Public run.
Then of course there is the outstanding ensemble of dancers. Each one of them at any given time is telling a unique story, and I would see the show 10 times just to focus on only one of them each time. Some captivate me more than others, but none of weak links at all. The two added ensemble tracks don’t add much, in my opinion. They are definitely there to amplify the sound and they aren’t core dancers at all. Most of the time they are paired off to one corner together singing while the rest of the cast dances. It was almost like finding Waldo and I found it distracting sometimes. I suppose the production team felt they wanted to fill the space a little more but I honestly don’t think they add much (if anything) to the show. It must have been hard to add two new pieces to an already well-oiled machine.
Lin, Tommy, Alex, and Andy have proven that they are the perfect team working with history to make history. It’s one all-star after another creating a show that tells an important story we should already know but most don’t. Hamilton is so fluid in its new home, it’s surprising there have only been 15 performances. So congratulations to them, and more importantly, thank you to them for bringing this to all of us.
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Also, I heard re: SRO. After opening they will sell SRO day of performance, separate from lotto. No word on if there are only 6 slots or more but it seems that it will no longer be lottoed off after August 6.
You don't miss anything at all. The only downside is being unable to view the show (especially the choreography) as one piece. You have to pick and choose where to focus, and sometimes there is so much going on that it's hard to choose.
"Lin, Tommy, Alex, and Andy have proven that they are the perfect team working with history to make history. It’s one all-star after another creating a show that tells an important story we should already know but most don’t. Hamilton is so fluid in its new home, it’s surprising there have only been 15 performances. So congratulations to them, and more importantly, thank you to them for bringing this to all of us."
I agree with your whole review, MyLife, but particularly with this part. I think many people will try to imitate Hamilton in the years to come, but I don't think any will succeed. It's truly a one-off. Thanks for posting your thoughts!