Riedel on Hamilton transfer — Page 2

There were so many things wrong with that column today that I'm not even going to give him the benefit of the doubt about this. I cannot wait for Riedel's downfall. I think I know what it will be, and while I don't want the event that will cause it to happen anytime soon, it really can't come soon enough. It happened to Walter Winchell...

Besides being based on historical figures, they have NOTHING in common, those 2 shows. As pointed out - one is good. No, brilliant.

I love Bloody Bloody and saw it many times at the Public. But: A) It was not rushed to Broadway. It closed at the Public in the early summer and opened on Broadway in the fall, at the very start of the next season- the weakest time, arguably, for a show to open. B) The general consensus is that it lost a good deal of appeal in moving to a Broadway house, which was reflected in its reviews, which were generally less enthusiastic for the transer. C) BBAJ did NOT sell out its extensions- tickets were easily had for its final weeks at the Public. Hamilton sold out its extensions within a few days of their announcement.

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Updated On: 2/20/15 at 11:09 AM

Having seen both shows. I enjoyed both (enjoyed BBAJ more). I really think it should wait the year to transfer. Hamilton could stand to loose 20 minutes (what 20 minutes I am not sure about because everything in show is vital to the plot and ending).

As a member, I only paid $50 per ticket to see it.

I waffled about seeing Hamilton at first. I hadn't loved Fortress of Solitude, and I didn't think I would like a rap musical. But being a member and able to get a Hamilton ticket for $50 pushed me over the edge, and I'm really glad I got to see it.

It is a very expensive looking show, top notch in every way. The money that the producers coughed up was well spent. Personally, I feel it needs a bit of cutting, and I would like a more boffo ending, but it's in good shape.

Updated On: 2/20/15 at 11:20 AM

I agree Mac. I thought the ending was a little flat.

Kad, maybe reworked is a better word, parts of the show flowed well, I started to get bored in spots, but was then drawn back in.

You mean the incredibly problematic financial plan we're still using today?

Both BBAJ and Hamilton were inventive in their own right: not least of which for their use of modern and less Broadway-standard music (emo rock for BBAJ, hip-hop for Hamilton).

However, I believe Hamilton deserves the higher praise for originality. As I said in another post, Miranda has seamlessly incorporated hip-hop (...not just rap), a most American of musical creations, into a Broadway show (another distinctively American creation). That it tells the story of roughly 30 years of American history in just under 3 hours makes it that much more remarkable.

...and those songs...

...and Thayne (sorry, little crush going on over here...)

'I would like a more boffo ending'

I think it's the most beautiful, moving ending of any musical since SUNDAY IN THE PARK WITH GEORGE.

In fact, the last 30 minutes from (SPOILERS) death of Hamilton's son and eventual reconciliation with his wife to the information we get about Eliza during the finale left me quietly weeping the entire time. My sweater was wet. No...the ending wasn't boffo...but it was perfect.

Objectively, Riedel is totally right (aside from trying to stir the pot).

I don't have an actual opinion of what they should do, but here are a couple of variables I haven't seen mentioned:

1) There are still 18 shows set to open in the remainder of the season. Your competition hasn't been reviewed or seen by the majority of Broadway people. (American in Paris, Shoulda Been You, Fun Home, Neverland etc.) It's easy to say "It's going to "sweep" against Honeymoon and Hollar, but a little more difficult to make a case against the (actual) unknown.

2) The Tony voters are dominated by presenters. They like to award shows that can tour. That doesn't mean that every winner is picked with this assumption (i.e. Gentleman's Guide wins over Aladdin), but you have to always remember that the voters are not necessarily going to pick something strictly for it's artistic quality. It, like everything else, is political and everyone has different motivations.

3) Closing, flipping the theatre, loading in, rehearsing, preview, and open in the amount of time proposed is going to be difficult. Not impossible, but very difficult. It would really have to go seamlessly. Opening this season seems like the right move in this moment, but really there are plenty of reasons to wait. Opening on your timeline, prepared and polished would be just as attractive as riding this wave.

So now you have a decision to make. Do you capitalize on the momentum, or do you wait and make a calculated move next season. It'll be interesting to see the decision made and what motivated it.

What does my gut say? They probably try and open this season.
What should they probably do? Wait.