Hamilton took over the world last year, from a mixtape to the Tony Awards. With all the hype, I have been waiting anxiously to see Hamilton and was finally surprised for my birthday to see the show in Chicago. Part of me wondered if the anticipation would live up to seeing it, but Hamilton not only met my expectations, but exceeded them. There are few modern musicals that have won a pedestal in American pop culture, like The Lion King and Wicked, and I believe Hamilton has earned that spot.

The production staff and the actors are the ones who are known to bring the show to life. They are usually involved with the show from the start. But theater is so much more than that. Theater and shows are also about the little people that you meet along the way. The ones who help out your production in small ways and have no idea that they have helped. In part 2 of the series of those who help bring a show to life, I am going to introduce you to them. They are the people who work at the thrift store, the library, or at another community theater.  

I've always rejected the notion that musicals are somehow "dumb versions of plays". I've heard this more than once. But what many people might not know, is that their favorite musicals were actually based on plays. 

For instance, "Oklahoma!" was based on a play titled "Green Grow the Lilacs".  "Cabaret" is actually based on the play "I Am a Camera". 

So I started to wonder what more recent plays could become incredible musical adaptations. Here are some of them, along with composers who might be perfect for the job. 

Last night at about 3:00AM, my director stood before me, her hair in a messy ponytail, bags under her eyes, her paint clothes splattered with all kinds of interesting colors, and she said, “Sometimes directing is like having a baby. You’re in the worst pain of your life. You want nothing more than for it to be over and for to have never conceived at all. All you can think of is the stress and the pain that your body is going through. But then, you’re holding your baby in your arms, and she’s so beautiful that you cry.” 

Thank you.

I know we met a little later than most, but it feels like it's been a lifetime. There are never going to be enough words to express how thankful I am for everything you've done, though I sure can try. Thank you for the countless hours you've spent working with me. Thank you for providing me with all the tough love I could ever ask for. Thank you inspiring, helping, and motivating me to achieve things I never thought possible. Thank you for providing me with a home away from home. 

Why do we perpetuate this idea that some things never grow old? Everything does, including musicals. You might still enjoy them (maybe even because they make you feel nostalgic), but don't expect everybody to. We've seen a whole new generation of musicals since the creation of shows like The Sound of Music, Oklahoma, Oliver, My Fair Lady... And liking musicals doesn't mean that you like every musical ever written.

I usually like to joke and say that the Tony Awards feels like the theatre industry's homecoming game between Carnegie Mellon and the University of Michigan. But it's also hard to ignore the amount of colleges that are mentioned in acceptance speeches. 

Should actors be forced to accept the reality that special treatment will inevitably be given to people with less experience in theatre because of their careers working in another industry, while actors with far more experience on stage will continue to be expected to be off-book and without an earpiece? For that matter, should theatergoers be willing to accept shows that cater to this sort of laziness among actors who only get Broadway roles despite their lack of ability as a stage performer?

There’s a new theatre festival in town. Broadway Bound Theatre Festival  BBTF) is making its inaugural debut, featuring works by playwrights from around the country. 

Starting July 30th and running through August 20th, BBTF is giving audiences a New York theatre experience at an affordable price, while providing playwrights with the tools they need to get their shows off the ground.  I got the chance to interview four playwrights whose plays are in this festival: Riley Thomas, author of Convicted, Sherod D. Lee, author of 2 Years of Eternal Joy, Juan Ramirez Jr., author of The American Dream and Lina Sarrello, author of Out There

But like a pyrophiliac soaking in the firey pits, it’s the blistering pain we beg for.

For the last few months, I’ve been hosting an open mic. Well, technically it’s not an open mic -- it’s a booked show. But, as I’m constantly reminded, it’s so poorly produced that it could easily be mistaken for an open mic. So, I win.