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I bought this in 2016, but didn't get around to reading it until 2020, which is relevant context and a meta participation in the overall theme of the musical: what is a legacy, and how does it change over time?
Lin-Manuel Miranda and Jeremy McCarter worked on documenting the creation of Hamilton from its initial beginning as a mixtape idea in 2008 through the Broadway debut in 2015. The story of behind the scenes is interspersed between the libretto: all text of the musical (including the one scene not in the cast recording because it is spoken dialogue) plus a couple deleted numbers, with footnotes on particular lines for inspiration/samples/etc. What strikes me is that while they acknowledge Hamilton is something special, they also recognize this is still in its early years (ha) for a musical- who knows how it will be recontextualized as high school/college performances, or in what the book doesn't predict, a Trump administration. The notes on Reynolds Pamphlet say there's some joy in seeing the line "Never gonna be president now," quoted during the then-election cycle of 2015-2016 but hooboy does that feel like a simpler time. Likewise, ending on Obama's chat with the cast and crew about the belief in stories and how they can change the world with the hope of America's future feels hollow after the horrors that came in the following years. This was also published before the Tony Awards and the wins the show took home, so that isn't covered either (though I can't think of where it'd fit in between songs).
The release of the filmed version in July 2020 on Disney adds another contextual layer- I wonder if someone of these close ups in the book are from the days they filmed close-ups for that original cast recording. The libretto does not describe everything in a scene (a footnote mentions King George III's dance during The Reynolds Pamphlet but it's not a line so barely mentioned in text, and it would be hard to describe all the minute gestures the cast brings to their performances). I don't know what a post-pandemic theater experience looks like, but I'm guessing it will be a while before live performances in person are a thing. Film and books scratch the itch but it's not quite the same as the performers and audience feeding off of each other's energy. ( )
"Hamilton: The Revolution" by Lin-Manuel Miranda and Jeremy McCarter is a must-read for anyone who loves musical theatre, American history, or just damn good storytelling. Miranda's creation of the hit Broadway show "Hamilton" was nothing short of a phenomenon, and this book gives readers an inside look at how it all came together. With detailed accounts of the creative process, from the initial concept to the final product, and gorgeous photos and artwork, "Hamilton: The Revolution" is a celebration of the power of art to inspire and unite us. I highly recommend it to anyone who believes in the importance of the arts in our society. ( )
An interesting look into the creation of a new, unique, piece of theatre. Interesting both for the insight into the lyrics, and the interstitials about the production, from White House premier to the premiere opening night. Best accompanied by the soundtrack. Familiarity with the music will increase satisfaction with the book. ( )
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Google Books — Chargement...
(4.49)
1
Lin-Manuel Miranda and Jeremy McCarter worked on documenting the creation of Hamilton from its initial beginning as a mixtape idea in 2008 through the Broadway debut in 2015. The story of behind the scenes is interspersed between the libretto: all text of the musical (including the one scene not in the cast recording because it is spoken dialogue) plus a couple deleted numbers, with footnotes on particular lines for inspiration/samples/etc. What strikes me is that while they acknowledge Hamilton is something special, they also recognize this is still in its early years (ha) for a musical- who knows how it will be recontextualized as high school/college performances, or in what the book doesn't predict, a Trump administration. The notes on Reynolds Pamphlet say there's some joy in seeing the line "Never gonna be president now," quoted during the then-election cycle of 2015-2016 but hooboy does that feel like a simpler time. Likewise, ending on Obama's chat with the cast and crew about the belief in stories and how they can change the world with the hope of America's future feels hollow after the horrors that came in the following years. This was also published before the Tony Awards and the wins the show took home, so that isn't covered either (though I can't think of where it'd fit in between songs).
The release of the filmed version in July 2020 on Disney adds another contextual layer- I wonder if someone of these close ups in the book are from the days they filmed close-ups for that original cast recording. The libretto does not describe everything in a scene (a footnote mentions King George III's dance during The Reynolds Pamphlet but it's not a line so barely mentioned in text, and it would be hard to describe all the minute gestures the cast brings to their performances). I don't know what a post-pandemic theater experience looks like, but I'm guessing it will be a while before live performances in person are a thing. Film and books scratch the itch but it's not quite the same as the performers and audience feeding off of each other's energy. (