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This is a set of sketches and a story I did senior year of College for a small book I wanted to make as a personal project. It never came to completion but I have adapted the themes into a concept for a 2 part anthology I plan making someday in the future. I called it dissociation, which essentially means a disconnect between two things because I’ve always felt that my thoughts, actions, and emotions function in a lot of different pieces rather than one whole working mechanism.

Lin-Manuel Miranda’s dressing room is literally a bedroom, albeit a very small one. The kinetic 28-year-old star and composer of In the Heights, the new pan-Latino pop opera that celebrates the Inwood-Washington Heights neighborhood Mr. Miranda grew up in, has outfitted his room at stage right like an 8-year-old boy’s, with items that speak to his own affinities, not his characters’. There are Transformers sheets for the bunk bed that’s above his dressing table, a television set and PlayStation 2, and a G.I. Joe Cobra Commander poster on the door. The stuffed monkey next to his pillow isn’t a transitional object, he said. It’s a prize from a claw machine in Times Square. “I’m only good at two things,” Mr. Miranda said, “writing music and the claw. And I’m unbelievably good at the claw.” He proffered his guest book, which has been signed by his parents, his grammar school music teacher and his director, Thomas Kail, who wrote, “You are all hype.”

Besides the bunk bed, the other notable feature of this closetlike room is its grass cloth walls, put there, as the bed was, for Joel Grey when he played Amos Hart in Chicago in 1996.

[Sources: Setting the Stage, Offstage on The New York Times; pic by Tony Cenicola, HQ version from LinMiranda.com]