[…] But the deafening din crackled with the spirit of a communal rally. The musical’s full-throated affirmation of diversity, inclusion and tolerance has taken on new urgency now that these values have fallen under sharp attack. “Hamilton” has become part of the resistance.
Parts civics class, part hip-hop extravaganza, part town hall, the show celebrates in rapping flow the ideals our Founding Fathers battled to define and defend nearly 2½ centuries ago — ideals that are still being vociferously fought over today.
The never-ending project of forming a “more perfect Union,” as the Preamble to the Constitution puts it, is what separates “Hamilton” from the other 21st century Broadway juggernauts (“The Producers,” “Wicked,” “The Book of Mormon”) that have given theater a sugar rush of popularity.
Hamilton and Lafayette’s high-five moment on the battlefield acknowledging the contribution of immigrants to the cause of freedom (“We get the job done”) has been provoking thunderous applause since the show’s off-Broadway start at the Public Theater in 2015. But the cheers at the SHN Orpheum were tinged with the ironic recognition of President Trump’s immigrant-phobic policies and proposals. In loudly endorsing the sentiment of the characters, the audience seemed to be rooting on its own activism and dissent.
Similarly, the song “History Has Its Eyes on You” takes on an even more mournful resonance than before. The image of George Washington shouldering with grave dignity his responsibilities as leader of the burgeoning democracy stands in stark contrast to the partisan shenanigans going on in Washington today. History not only has its eyes on us but it also helps us to see how far we are falling short.
“Hamilton” simultaneously highlights some of very real strides that have been made in the struggle for liberty and equality. The musical’s multicultural cast, portraying seminal figures in the story of America’s founding, is part of the show’s progressive message.
I’ll have more to say about the virtuoso spell of Joshua Henry’s Aaron Burr, the swaggering vigor of Emmy Raver-Lampman’s Angelica Schuyler and the intelligent if somewhat muted presence of Michael Luwoye’s Hamilton when the production opens in L.A. But the kinetic charge of the show comes in large part from the teamwork of this diverse and dynamic ensemble.
“Hamilton” is a generational phenomenon, a box office sensation that has been critically hailed for its groundbreaking style. The only Broadway musical in the last 25 years that remotely compares to it in terms of cultural impact is “Rent,” but Miranda’s masterpiece has a wider reach. Not many shows can claim former Vice President Dick Cheney and Jay Z as fans.
The New York company’s controversial curtain call speech to then-Vice President-elect Mike Pence, who caught the show after the election, may have provoked twitter thunderbolts from Trump, but “Hamilton” is open to all who uphold bedrock democratic principles. No American musical understands better the ideological combat that goes into governing. Patriots from both sides of the aisle have sung the show’s praises. […]
“I don’t have much time left… You need to promise me this, I beg
you. I did my best to build you and now you’re more than just a robot. I
made you so well that I can’t even call you my experiment anymore
because it just doesn’t feel right,” the man sniffed,
trying not to cry. He felt a warm, human-like touch on his shoulder
when the robot boy placed his hand on it.
“Please, I will do anything, Mr Father.” His voice was soft and
calm. It almost carried real feelings but of course robots couldn’t feel
emotions. This one was special though. He could experience something
similar to actual human feelings, thanks to a
certain file in his programme called LOVE.exe.
“Promise me that you will protect my little daughter at all costs.
When I’m gone, you have to be her brother, her father, her hero… Don’t
let her cry and be everything I couldn’t because I spent her childhood
making robots in this basement. I lost her
mother because of my foolish project but I can’t lose my girl. I don’t
know if I will ever come back home. I don’t know if they let me see you
“I promise. She will feel like home. It is her home anyway.”
Equipment : Sony Portable Cassette w/AKG D-1000-E DOW Mic
Location : 5th Row Center
Lineage : Master Cassette > wav > Sound Forge 7.0 > CDR
> EAC (100% on single tracks) > GoldWave (to cue tracks) > mkw Audio > shn
Source : Recorded, Mixed and Mastered by Joe Ray from the Kenai River, Alaska
01. On The Way Home
02. Here We Are In The Years
03. I Am A Child
04. Journey Through The Past
05. Out On The Weekend *
07. Old Man
08. Heart Of Gold
09. The Loner ^
*) after this song Neil talks directly to the taper.. “We’re gonna get you.”
^) fades out at the end
show id: 16865
note from the taper:
This IS the “We Gonna Get You” master tape! As Joe Ray recalls it;
“After Neil’s comment to get me (‘the guy with the microphone’), I held
the microphone where it could not be seen until ‘The Loner’
(uncomplete), when I turned the deck off. I was sitting in the 5th row
center and the roadies were looking for me from the side of the stage.
The pressure was on me,…if I would have been caught I would have been
arrested, etc.,… so, I just stopped taping. I put the expensive AKG
D-1000-E microphone in my boot.
I lost the $40.00 Sony Portable Cassette Deck and the Microphone Cord by
saved the microphone and the tape. I became much more stealthy when
recording shows after this incident!”