Showing posts with label Hamilton. Show all posts
Showing posts with label Hamilton. Show all posts

Thursday, December 1, 2016

On the Scene: NYC Students Rise Up at Hamilton

by Michael Block

I had an exciting opportunity to witness 1300 of New York City's finest, students that is, attend a special performance of Hamilton. It was my second time at the show. But this was NOT the same show I saw before. This was experience like no other. 

They are not throwing away their shot to rise up in the room where it happened. 1300 New York City public school students attended an exclusive matinee performance of the show with hottest ticket in America. Thanks to partnership between Hamilton, The Rockefeller Foundation, the Gilder Lehrman Institute and the NYC Department of Education, another lot of students from New York's Five Boroughs were granted an invitation to Hamilton. That is after they successfully completed and passed their curriculum pertaining to the subject. A true stage to page experience.
The smash hit phenomenon has reached global success to the point that it has not only opened up eyes to a new audience but it is truly a profound teaching tool. Unless you've been living under a rock, you know the musical, written by Lin-Manuel Miranda, was at the center of some recent controversy when Vice President elect Mike Pence made a recent visit to the show. With a speech aimed to education, Brandon Victor Dixon, who plays Aaron Burr, spoke on behalf of the ensemble in hopes of starting an important discussion. In some arenas, namely social media, it backfired, but the message Dixon relayed is the rich message found with Miranda’s piece. This is a story of old America told by today's America.
Prior to the performance, a select few students got to make their "Broadway debut" by performing original work on the Richard Rodgers stage. At the core of their pieces was a narrative inspired by Hamilton and other pertinent information integrated from their studies. From poetry to song to dance to spoken word, these select students found their moments to shine in front of the biggest audience they could dream of. Associate choreographer Stephanie Klemons served as MC and hype girl, getting the students geared up to watch their classmates and peers. Some of the many highlights included a scene inspired by Abigail Adams written and performed by Kiara Leon and Anda Rosca from East Side Community School, some profound words in a scene from Jaelen Smith and Adante Power of Repertory Compay High School for Theatre Arts, a lyrical dance from Keturah Stephen, Liliana Delossantos, and Destiny Trevino, of Brooklyn High School of the Arts, and the pure vocals of Juan Mateo Garcia of Brooklyn Theatre Arts High School. All of this was set up by the incredible poem entitled “Let’s Make America Great Again” delivered with fervor and passion from Amell Garrison of Achievement First University Prep High School.
photo by Michael Block
If being able to see the show wasn't enough, the students got to listen to a very special question and answer session featuring some of the stars of Hamilton. Sharing their time and knowledge were Sasha Hollinger, Rory O’Malley, Eliza Ohman, Sydnee Winters and star of the future, and overall fan favorite Jordan Fisher. From silky, frothy questions to deep, personal statements, the wealth of insight the cast shared resonated. If you looked around closely, there was not a phone in sight. These kids were listening and engaged.
If you're one of the lucky few that has scored a ticket to Hamilton, you know what it's like to be in that audience. Even if you've seen a Broadway show, you know the etiquette. Those rules don't apply here. In fact, Stephanie Klemons ASKED this crowd to vocalize and react. Throw them out because these kids have no fear and will respond. The room was electric. The energy they gave the company was immediately given right back. And wouldn't you believe the moment the lights came up for curtain call everyone was on their feet. The Richard Rodgers was electric. Even glancing over at the great ushers, they were energized by the aura from the students.
It's an experience you can only have in this room with these students. They reacted to everything, good, bad, or indifferent, proving just how in-tune they were to the words of Lin-Manuel Miranda. What this great partnership has afforded the youth of New York is integral to our future. Art truly does have the power to change the world. What these students took from their day at the theater is yet to be scene but what is certain, this is a field trip these kids will never forget.

Tuesday, May 3, 2016

2016 Tony Awards Announced

And the 2016 Hamiltony goes to...yes, that's right. A Hamilton  joke to kick off the article. To no surprise to anyone, Hamilton broke records this year collecting 16 nominations. While it's safe to say that the Best Musical category is a lock, this year's story all about who has any chance of beating Hamilton. In the play world, if you did an Arthur Miller play, you did fine. Some tight races but no real shocks. Here is the list of the nominees.



2016 Tony Award Nominees

Best Play
Eclipsed
The Father
The Humans
King Charles III

Best Musical
Bright Star
Hamilton
School of Rock-The Musical
Shuffle Along, Or the Making of the Musical Sensation of 1921 and All That Followed
Waitress

Best Revival of a Play
Arthur Miller's The Crucible
Arthur Miller's A View from the Bridge
Blackbird
Long Day's Journey Into Night
Noises Off

Best Revival of a Musical
The Color Purple
Fiddler on the Roof
She Loves Me
Spring Awakening

Best Book of a Musical
Bright Star: Steve Martin
Hamilton: Lin-Manuel Miranda
School of Rock- The Musical: Julian Fellowes
Shuffle Along, Or the Making of the Musical Sensation of 1921 and All That Followed: George C. Wolfe

Best Original Score (Music and/or Lyrics) Written for the Theatre
Bright Star: Music: Steve Martin and Edie Brickell, Lyrics: Edie Brickell
Hamilton: Music & Lyrics: Lin-Manuel Miranda
School of Rock-The Musical: Music: Andrew Lloyd Webber. Lyrics: Glenn Slater
Waitress: Music & Lyrics: Sara Bareilles

Best Performance by an Actor in a Leading Role in a Play
Gabriel Byrne, Long Day's Journey Into Night
Jeff Daniels, Blackbird 
Frank Langella, The Father 
Tim Pigott-Smith, King Charles III 
Mark Strong, Arthur Miller's A View from the Bridge

Best Performance by an Actress in a Leading Role in a Play
Jessica Lange, Long Day's Journey Into Night 
Laurie Metcalf, Misery 
Lupita Nyong'o, Eclipsed 
Sophie Okonedo, Arthur Miller's The Crucible 
Michelle Williams, Blackbird

Best Performance by an Actor in a Leading Role in a Musical
Alex Brightman, School of Rock-The Musical
Danny Burstein, Fiddler on the Roof 
Zachary Levi, She Loves Me 
Lin-Manuel Miranda, Hamilton 
Leslie Odom, Jr., Hamilton

Best Performance by an Actress in a Leading Role in a Musical
Laura Benanti, She Loves Me 
Carmen Cusack, Bright Star 
Cynthia Erivo, The Color Purple 
Jessie Mueller, Waitress 
Phillipa Soo, Hamilton

Best Performance by an Actor in a Featured Role in a Play
Reed Birney, The Humans 
Bill Camp, Arthur Miller's The Crucible 
David Furr, Noises Off 
Richard Goulding, King Charles III 
Michael Shannon, Long Day's Journey Into Night

Best Performance by an Actress in a Featured Role in a Play
Pascale Armand, Eclipsed 
Megan Hilty, Noises Off 
Jayne Houdyshell, The Humans
Andrea Martin, Noises Off
Saycon Sengbloh, Eclipsed

Best Performance by an Actor in a Featured Role in a Musical
Daveed Diggs, Hamilton 
Brandon Victor Dixon, Shuffle Along, Or the Making of the Musical Sensation of 1921 and All That Followed 
Christopher Fitzgerald, Waitress 
Jonathan Groff, Hamilton 
Christopher Jackson, Hamilton

Best Performance by an Actress in a Featured Role in a Musical
Danielle Brooks, The Color Purple 
Renée Elise Goldsberry, Hamilton 
Jane Krakowski, She Loves Me
Jennifer Simard, Disaster! 
Adrienne Warren, Shuffle Along, Or the Making of the Musical Sensation of 1921 and All That Followed

Best Scenic Design of a Play
Beowulf Boritt, Thérèse Raquin 
Christopher Oram, Hughie
Jan Versweyveld, Arthur Miller's A View from the Bridge 
David Zinn, The Humans

Best Scenic Design of a Musical
Es Devlin & Finn Ross, American Psycho
David Korins, Hamilton 
Santo Loquasto, Shuffle Along, Or the Making of the Musical Sensation of 1921 and All That Followed 
David Rockwell, She Loves Me

Best Costume Design of a Play
Jane Greenwood, Long Day's Journey Into Night 
Michael Krass, Noises Off 
Clint Ramos, Eclipsed 
Tom Scutt, King Charles III

Best Costume Design of a Musical
Gregg Barnes, Tuck Everlasting 
Jeff Mahshie, She Loves Me 
Ann Roth, Shuffle Along, Or the Making of the Musical Sensation of 1921 and All That Followed 
Paul Tazewell, Hamilton

Best Lighting Design of a Play
Natasha Katz, Long Day's Journey Into Night 
Justin Townsend, The Humans 
Jan Versweyveld, Arthur Miller's The Crucible
Jan Versweyveld, Arthur Miller's A View from the Bridge

Best Lighting Design of a Musical
Howell Binkley, Hamilton 
Jules Fisher & Peggy Eisenhauer, Shuffle Along, Or the Making of the Musical Sensation of 1921 and All That Followed 
Ben Stanton, Spring Awakening
Justin Townsend, American Psycho

Best Direction of a Play
Rupert Goold, King Charles III 
Jonathan Kent, Long Day's Journey Into Night 
Joe Mantello, The Humans 
Liesl Tommy, Eclipsed 
Ivo Van Hove, Arthur Miller's A View from the Bridge

Best Direction of a Musical
Michael Arden, Spring Awakening
John Doyle, The Color Purple 
Scott Ellis, She Loves Me 
Thomas Kail, Hamilton 
George C. Wolfe, Shuffle Along, Or the Making of the Musical Sensation of 1921 and All That Followed

Best Choreography
Andy Blankenbuehler, Hamilton 
Savion Glover, Shuffle Along, Or the Making of the Musical Sensation of 1921 and All That Followed 
Hofesh Shechter, Fiddler on the Roof 
Randy Skinner, Dames at Sea 
Sergio Trujillo, On Your Feet! The Story of Emilio and Gloria Estefan

Best Orchestrations
August Eriksmoen, Bright Star 
Larry Hochman, She Loves Me 
Alex Lacamoire, Hamilton 
Daryl Waters, Shuffle Along, Or the Making of the Musical Sensation of 1921 and All That Followed

Tony Nominations by Production
Hamilton - 16
Shuffle Along, Or the Making of the Musical Sensation of 1921 and All That Followed - 10
She Loves Me - 8
Long Day's Journey Into Night - 7
Eclipsed - 6
The Humans - 6
Arthur Miller's A View from the Bridge - 5
Bright Star - 5
King Charles III - 5
Noises Off - 5
Arthur Miller's The Crucible - 4
The Color Purple - 4
School of Rock - The Musical - 4
Waitress - 4
Blackbird - 3
Fiddler on the Roof - 3
Spring Awakening - 3
American Psycho - 2
The Father - 2
Dames at Sea - 1
Disaster! - 1
Hughie - 1
Misery - 1
On Your Feet! The Story of Emilio and Gloria Estefan - 1
Thérèse Raquin - 1
Tuck Everlasting - 1

Wednesday, October 7, 2015

What Happened to Theater Etiquette?

by Michael Block

I had the great fortune of finally getting an opportunity to see Hamilton. I felt like I was the only person who hadn't seen it so when the chance for standing room tickets was presented, I jumped on it. At the Richard Rodgers Theatre, you're stuck in the back of the orchestra having to navigate the overhang of the mezzanine in order to see the upper level of the set. But in the back, you also get to witness the actions of those in front of you. At this particular performance, there was a quartet of women who seemed to be celebrating a night out. Maybe dinner and show. I can only assume. They came in just before the show began and seemed to require more time than the average person to turn off their phones. You know, a few minutes into the start of the show. The glow of the cellphone was a bit of a distraction but hey, "we're used to it". Once the show began, all seemed fine. Until about midway through Act 1 when two members of the party had to take a bathroom break. Being in the middle of their row, their exit to the toilet required everyone next to them to get up. And this happened twice. This isn't something new at the theater. It happens. There's some whispering that occurs, but again, nothing new. Intermission comes along and one woman brings the quartet vodka gimlets in Hamilton show cups. It's clear this was not their first adult beverage of the evening. Act II commences and all seems fine until a phone drops during Jonathan Groff’s next appearance. Whispers turn to giggles, and the distraction grows beyond that one row. This continues on as understudy Alysha Deslorieux, who's on for Phillipa Soo as Eliza Hamilton, is proudly singing “Burn”. The couple next to the giggle girls grows furious, a girl from the standing room section ushers the usher to become a hero and quiet things down. And then things get out of hand. When attempting to remedy the situation, the couple begs the ushers, now two, to remove these women. The husband physically forces the two gabbers out of the row, all while Ms. Deslorieux shines on stage. The two remaining woman are upset and make their way out of the row, again forcing the rest of the row to stand. An altercation ensues in the back of the house. Now nearly every back row of the orchestra at the Richard Rodgers Theatre has turned around to observe, and yet Ms. Deslorieux sings proudly on. One of the woman can barely stand up straight as she’s pleading to stay. By the end of the song, the ruckus has died down and we back of the housers give Alysha Deslorieux an extra loud applause.
So why is this story important? Because just two weeks earlier, I attended a performance of the incredible revival of Spring Awakening where a young couple, so disturbed by the content, stormed out of the theater during the climatic Act 1 finale. They protested the content claiming it was the most disgusting thing they had ever seen. I attend a lot of theater, most of which nowadays is downtown or Off Broadway. And yet the latest two Broadway shows I attend there are instances where people feel the urge to disrupt not only their fellow patrons but the performers pouring their heart out on stage.
There seems to be a string of incidents in big market New York theater of late. The young man who had the urge to charge his cell phone on the set of Hand to God. The cellphone monster that faced the wrath of Patti LuPone at Shows For Days. The drunken fellow who professed his love for Keira Knightly at Therese Raquin. Even that Hollywood actor who attended Cabaret and made a great big scene. And I'm confident there are more that have gone undocumented. No matter where you attend theater, Broadway, Off Broadway, regional houses, there’s always that one person. Maybe it’s that lady in front of you who can’t hear or missed something and asks “What? What did they say?” and a response comes which begins the symphony of shhhs. So why is this happening and how can we avoid this rising epidemic?
It seems some of the documented occurrences have a common denominator. That being the consumption of alcohol. So is a solution to rid Broadway houses of liquor? Of course not. How else will theater capitalize on the consumer? And then there are those people who can’t seem to detach themselves from their cellphones. And the fine folks at AT&T didn’t help the situation. So is a solution to ban cell phones from theaters? Of course not. But maybe you shouldn’t be granted entry until the cell phone is in the up right and off position. And then it’s those talkers. Should a muzzle be given with each ticket purchased? Of course not. Then we can’t sing along to our favorite showtunes.
All joking aside, it seems as if theater etiquette has gone down the tubes. And it’s unfortunate. Theater tickets seem to be skyrocketing. With production values becoming astronomical, producers are forced to match the cost of producing a show of worth by upping ticket prices. It used to feel as if theaters were filled with the occasional theater fan alongside the artists who support their peers. Nowadays, you almost need to be well-off to attend a Broadway show. And perhaps the rules of etiquette don’t apply to the privileged. Certainly that’s a generalization and likely not true. But where has the etiquette gone. I feel like the most awful person in the world if I have to cough in the middle of the show. I don’t want to disrupt anybody. But it seems the logic of fear of disruption doesn’t apply to everyone. And it’s a shame. Is it the clientele? Who really knows.
Last week, an instance occurred at The King and I involving a young boy having an outburst. The audience instantly turned on the child and mother. As castmember Kevin Moon Loh poetically wrote about the situation on Facebook, we don’t always know the facts and the situation. There are certainly occasions at the theater that goes beyond our control. That happened to be one of them. But the instances that are just plain rude? How do we minimize it? For us artists, we take great pride and joy in sharing our work for an audience. Whether it is for a house of ten or a theater of thousands. It’s our passion that drives us. And all we want is a little respect. And by respecting the people on stage, you’re in turn respecting the patrons around you. Whether you pay $35 for a ticket or $435, we’re all entitled to have the same experience. Remember, you’re not alone. There are people around you. Nytix.com has a nifty 13 rule theater etiquette article. Maybe with every ticket purchased, these rules should be attached. Or maybe it should be common knowledge. It's time to start a conversation so we can all be entertained again.