So many reviewers, columnists, and performers are bemoaning the recent bad behavior of Broadway audiences. It’s as if having people in the audience who distract other audience members, upstage the show, and act in ways that detract from the live stage performance are something new. These actions are not. Such behavior is actually normal in the American theatre. If, somehow, you manage to not have anyone act inappropriately, then you truly have had a special live theatre experience.
The new Lin-Manuel Miranda (In the Heights) musical Hamilton has garnered a lot of attention and praise. It almost immediately sold out its Off-Broadway run at the Public Theatre, was designated for transfer to Broadway just after it opened to five-star reviews, and now that it’s in previews on Broadway every celeb wants to be seen at what is considered to be a groundbreaking show.
Getting the obvious out of the way, this is a piece of musical theatre that is expertly crafted, directed, and performed. Miranda is a genius, and with director Thomas Kail, choreographer Andy Blankenbuehler, and musical director Alex Lacamoire, he’s created a theatrical piece that works on many different levels.
Past and Future Brought Together?
Some pundits are saying that this musical is about the future of America. This is for a few reasons with one being that most of the leads, in stark contrast to our white founding fathers, are being played by men of color. In other words, this is a colorblind production and making it thus reveals the future of what our country can be.
However, more so and more importantly, the casting, which features superlative performances, is not just about what our country might be one day, but what it is now. This musical is a living paradigm of society today, where color lines in the eyes of many of those who are just being born and those who are in their late-twenties to early-thirties mean little to nothing when it comes to working together, falling in love, or creating lasting friendships.
Broadway is this amazing amalgam of shows, ticket prices, theatres, artists, producers, marketing and branding agents, and more. For the past 50 years or so there’s been a lot of concern as to where Broadway is going and what will happen to it. The fact is since the 1960s Broadway has fluctuated from periods of financial stability and growth to decline.
Whatever the case may be in the future, the fiscal, moral, artistic, and spiritual wellbeing of Broadway are all a part of the lives of every theatre professional, whether they are working on The Great White Way or involved in an independent, professional theatre in one of the 50 states. Here are some questions that everyone who is involved in the monetary aspect of the theatre needs to ask themselves and answer honestly.