Bandstand on Broadway

It was my last day in New York. I had just left the matinee of Natasha, Pierre, and the Great Comet of 1812 in utter disbelief of the magic that was made on the stage of the Imperial. My mother and I had gone to dinner and were now waiting in line to enter the Jacobs Theatre to see Bandstand.

Bandstand was the one show that I had actually planned on seeing while in New York. I knew I would see others, but hadn’t bought the tickets, but I wanted to make sure to see Bandstand. Maybe it was a bit of a redemption for the first time I had come to the city to see Cinderella and Laura Osnes was out of the show that week, maybe it was my incessant need for originality on Broadway, or maybe it was both. I knew I wanted to see this show.

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Something that I love doing, and rarely have the opportunity to do, is seeing a show without even an idea of what it is about. I love being able to enter a theatre with a blank pallet and let the actors and musicians take me away. I had an idea of what Bandstand was about. I knew that it was about men who returned home from WWII and started a band, but Lord, I had no idea what I was in for.

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The show starts and you are instantly taken to the war. You are there with Donny and Michael and are faced with the harsh realities of what happened there. They don’t sugar coat it, its real. When you end up in Cleaveland and see the way the war has changed people, it’s an eye opener. Before I saw this show, WWII seemed so far away, so disconnected. I knew that my grandfather had fought, I knew he saw things he never talked about, but this show put it into perspective for me. The way you see these men behave and try to deal with their inner demons is such eye-opening theatre. When the doctor tells Donny to find something quick, that he’s gone to three funerals that month because the men wanted a way to make it stop, I actually wanted to cry. Back then, and even to an extent now, people didn’t talk about what happened. They were expected to get over it, see it as an honor, and get through it. But talking about experiences helps so much, but it just wasn’t seen as an option then, they just had to do what it took to make it like it was before.

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When the 11 o’clock number rolls around and you see that someone is talking about it, that they want every man who served to know that they aren’t alone, I wanted to cry even more. I wish something like that was more readily available to men then, or even now. Sure, TV shows and movies talk about it, but back in the day, they had the MGM movie musicals that were more about the lavish homecomings than the realities of war.

This show has so many amazing aspects to it. It is a swing musical, which isnt common on Broadway, and not just that, but the actors on stage also play their own instruments. This means that not only do these actors have to act, sing, and dance well, but also be able to play swing music amazingly. There are still pit musicians who play the rest of the score, but when the Donny Nova Band is playing, the actors are playing the music.

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Also, Tony winner for Hamilton, Andy Blankenbuehler directs and choreographs the show. I remember that during one particular dance number, there are people sliding with chairs across the stage and the audience went absolutely nuts for it. It was amazing. There is no doubt that this show had the best choreography this season, they won a Tony for it.

But what makes this show even more amazing is that this show is the first Got Your Six certified Broadway musical, meaning it’s the first show to accurately portray veterans stories. These stories need to be told just as much as any other story on Broadway.

The performances by the actors were just so touching. Having been a fan of Laura Osnes for years, finally getting to see her in a show was such an amazing experience. But it was Corey Cott’s performance of Donny that absolutely blew my mind. Why he was not nominated for a Tony still baffles me. He gave his all and left it on the stage during that performance. His performance was one that will honestly stick with me for years to come.

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Whatever your thoughts on the military may be, this show tells the stories of what happens to people who do what they think is the best thing for their country and how they do their best to cope with those experiences.

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Great Comet, Great Birthday

Saturday. Matinee. My 22nd birthday. Great Comet

I left Los Angeles for New York two days before my 22nd birthday with tickets for only one show (Bandstand) and an idea of what other shows I wanted to see. Natasha, Pierre, and the Great Comet of 1812 was at the top of the list. So when I was able to buy next-day matinee tickets at TKTS I was absolutely beside myself.

I had listened to the Off-Broadway Cast Recording for about a year before leaving for New York and had fallen in love with the story and the show itself. I knew that some changes would be made but I had absolutely no idea about how I would feel during this show.IMG_4309.jpg

We, my mother and myself, rolled up to the Imperial Theatre in an Uber after getting myself a birthday blowout at DryBar, ready for what this show would become. Upon entering the theatre, I was immediately transported and disoriented. This is not what a Broadway theatre typically looks like, I felt cramped and a bit like Kimmy Schmidt, trapped in a bunker. But after following the crowd through the entry, I was once more transported into a lush, lavish, and absolutely beautiful Russian supper club.

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When the lights went down and the actors came out to discuss the rules of the club, I was instantly committed to the show. And then they won me over once more by handing out boxes of potato and onion perogies, which I was lucky enough to find myself in possession of. I was in love.

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The lights dimmed, the chandelier rose, and the show began. The prologue makes me so happy with the repeating verses which are insanely helpful. I find that by repeating the names of who is who, it helps the audience get a better grasp of the characters and their personalities.

I wasn’t a fan of Josh Groban, not that I didn’t like him, I just hadn’t had much exposure to his music. I knew him from the 2008 UK Concert of Chess, and thought he was wonderful in that. But he truly shines as Pierre and I feel lucky to see him make his Broadway debut. I also knew that as a fun fact he attended LACHSA, which is one of the high schools that are basically on my college campus.

As for Denée Benton, I actually saw her 3 years ago in the National Tour of Book of Mormon as Nabulungi. From what I remember, she was great in that. As Natasha, however, she soared. I cannot imagine someone more suited for this role than her. Her performance was so wonderful and she truly embodied that naive, love-struck character that is Natasha. Also, this being her Broadway debut was pretty exciting.

For me, however, the absolute standout of the show was Lucas Steele as Anatole. He was able to exude the charm and stubbornness that the character requires all while singing his little heart out. He was funny and, God, he was so charming.

When I woke up on Tuesday May 2, 2017 to the news that all three of these actors were Tony-nominated for their performances made my heart soar.

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A criticism I have heard about the show is that they speak a lot of their actions and some people do not like that. But I think it’s genius for two reasons. ONE, the show has pretty much redesigned the Imperial Theatre and the actors are performing around you all the time, including up in the mezzanine and at the back of the orchestra so nearly ever seat has some sort of obstruction, and so the actions being narrated is necessary. TWO, the show is based on a 70-page section of War and Peace, a book, by narrating the actions, it stays truer to the book, as if they are reading directly out of it. I think that is brilliant.

I love that the show is interactive, the actors are playing with the audience and toasting with them. I remember that during the song Letters, Anatole sends a letter along a row in the audience to Natasha. The row happened to be comprised of mainly older people and the last in the row was an elderly lady who was supposed to give the letter to Natasha. She, obviously, couldn’t move as well as a younger person might have so it took her a bit longer than anticipated to hand the letter over, but the audience gave a big cheer as she went to sit back down, and my heart swelled.

When the cast members came out with egg shakers for Balaga and the audience couldn’t keep the rhythm of the song, I felt so much joy. I love audience participation so much when no one is singled out.

I love how different and immersive this show is. It doesn’t leave you with a warm feeling in your heart unless the idea of no one being happy or in love makes you feel warm and fuzzy. To each their own. Still, this show is special, it leaves you feeling new and refreshed and like you and these characters are given a new start.

Everything about this show, the actors, the set design, the costumes, the book, and the music come together to form a perfect art piece. Not one day has passed since I saw this show that I have not listened to the cast recordings and spoken about this show. Of the three shows I saw on that trip, this is the one that has left the biggest impact on me. The fearlessness this show has by being different than the others is so promising of the future of Broadway, and that gives me hope.

I know this seems like a rave, but thats because it is. I love Great Comet. I love this show and want nothing but the best for this show and these actors. I want to see this show a million more times and I wonder if ever this could tour. I want everyone to see this show. When my friends tell me about the trips to New York they have planned for the summer, I tell them to see this show. Even when Groban leaves in early July, Oak will come in and kick ass.

Until next time,

Katie

Legends Take the Stage in War Paint

A Broadway fan can only dream of seeing the legends that are Patti Lupone and Christine Ebersole take the stage, but can you imagine how utterly overwhelming it can be for that fan to witness them take the stage TOGETHER?! It sure is something, I tell ya.

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On April 21, 2017, I had the most wonderful pleasure of witnessing two of Broadway’s most iconic performers play two of the most iconic women of the makeup industry. Patti Lupone as Helena Rubinstein and Christine Ebersole as Elizabeth Arden.

Upon purchasing tickets from TKTS at Lincoln Center, I was informed that Patti had been out of the show for the past few performances and it wasn’t a guarantee that she would be in the show tonight. Still, I took my chances even though I knew it was a possibility she would not be in because it was her birthday. I had faith and figured that I would at least see a new musical about strong powerful women.

There’s a rule I heard about once or twice, that if a lead will be out of show, two of three things need to happen: a notice must be posted on the board the audience sees upon entering the theatre, a flyer must be put inside the playbills, or an announcement must be made over the PA before curtain. None of these happened, but I would not believe anything until I saw her with my own eyes. And there she was, Patti Lupone in all her glory, commanding a stage like the legend she is.

The audience erupted with applause and cheers when Christine Ebersole and Patti Lupone took the stage. We all must have felt the profound energy they exude upon making their entrance. They were absolutely impossible to take your eyes off of.

Christine Ebersole’s performance was flawless. She portrayed Elizabeth Arden with such poise and class. A strong woman who understood the difficulties she was up against, making makeup a common household item rather than one saved for the stage, film, and prostitutes. When, towards the end of the second act, Arden sings about her board’s desire to step down, Ebersole showed such passion and pain for Arden who was being told subtly that she was only wanted for her name and her signature color, pink. This was the part of the show that made me feel the most emotion. For a woman to work so hard her entire life and only be summed up by a color has got to be the most dreadful experiences a woman can have.

Patti Lupone portrayed a different type of woman that Helena Rubinstein was. She was a woman who came from nothing, who worked hard to get passed the barriers set by society concerning her look and religion, strong in different ways. Both of these women had to break past the gender stereotypes and glass ceilings of the time, persevering through the second World War and helping America in what ways they could to show their alliance. Patti sounded so wonderful in her singing, though it was hard to understand. She spoke with an accent like Helena Rubinstein had, also singing in it which, when mixed with the music, ended up a cacophony. However, Lupone brought humor and wit and power to the stage, that I feel blessed to have witnessed.

The sets were so intricate and the costumes reflecting the time so that the audience could differentiate between the 30 years the show takes place. There’s a definite stylistic difference between the Arden and Rubinstein salons, Arden’s being more feminine and Rubinstein’s being more clinical.

My only critical comment about the show is that the fact that they were women was brought up quite a bit. Hear me out for a second. Obviously, we all know the hurdles women had to go through then and continue to go through, bringing it up over and over again is just redundant. We know these women were powerful and commanded companies successfully, but you can show their power without talking about that gender gap. Personally, I believe that only widens the divide and makes it a bigger issue by enforcing the idea that women were/are not as powerful as men. Clearly, they are and can be.

This show was the epitome of a lavish Broadway musical, the sets, the costumes, the legends on stage are what the show really has going for it.

What’s Going On with the National Endowment for the Arts and What It Means.

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Lets talk about the National Endowment for the Arts and everything thats been going on with it for the past few weeks.Since Donald Trump has taken office on January 20, 2017, the world has been a bit of a mess. There are reports of Fake News, Alternative Facts, and a whole bunch of Executive Orders. I won’t get into that in this, it doesn’t relate to the Arts right now and until it does, I’ll keep my mouth closed. However, something that has been tossed around recently is the possibility of Trump defunding the National Endowment for the Arts, the National Endowment for the Humanities, and privatize the Corporation for Public Broadcasting. Now, this can all seem a little confusing so the point of this post is to break down exactly what this means.

The Facts:

  • Donald Trump reportedly wants to cut cultural programs
  • Privatize the Corporation for Public Broadcasting (according to the Hill)
  • Eliminate the National Endowment for the Arts and the National Endowment for the Humanities (according to the Hill)
  • All of this is in order to reduce federal spending by $10.5 trillion over 10 years
  • Cultural programs make up 0.02% of Federal Funding (according to the Washington Post)

How an Endowment Works

Because I have twice interned in Development, which is the fundraising side of nonprofit organizations, I know a thing or two about endowments and how exactly nonprofits are funded. I am not an expert by any means, but I believe that I know enough to say something.

Essentially an endowment is a sum of money that sits in a bank that the organization cannot touch (unless circumstances are dire, in which case its seen as a bad thing in the org’s books). While they can’t touch the money itself, while it is in the account, it acquires interest which the organization can touch. Over the years the endowment can be added to which will then allow more money to be made off of it. A lot of nonprofit organizations rely on their endowment and the money they are granted by the National Endowment for the Arts. So, the NEA is pretty dang important.

The National Endowment for the Arts

A little information about the NEA

  • Established by Congress in 1965
  • Independent federal agency
  • Government funding—$148million of the $3.9trillion (Washington post)

“Established by Congress in 1965, the NEA is the independent federal agency whose funding and support gives Americans the opportunity to participate in the arts, exercise their imaginations, and develop their creative capacities. Through partnerships with state arts agencies, local leaders, other federal agencies, and the philanthropic sector, the NEA supports arts learning, affirms and celebrates America’s rich and diverse cultural heritage, and extends its work to promote equal access to the arts in every community across America. Visit arts.gov to learn more about NEA.”

What Does This Mean?

Trump wants to completely eliminate programs that don’t even equal 4/100000 of a percent each year. Now, I’m not an economist or much of a math person, but I know how to do basic multiplication and division. If you multiply $148 million by the 10 years in which Trump wants to reduce spending, you get $1.48 billion. Divide that by the $10.5 trillion he wants to reduce federal spending by and you get 0.0001409, which is 0.01409%, not even two-hundredths of a percent.

Again, I am not an economist, but these numbers seem to do nothing but hurt the NEA and the organizations that they fund, the communities they help throughout the country.

This is really no surprise, though, is it? The arts have always been the first thing to go when discussing budget cuts because our education system’s ideal is for students attending public schools to be more educated in STEM areas in order to keep up with technology and whatnot globally. Completely understandable, I get it. But public high schools have already eliminated so much of their arts programs in the past 10 years which keeps the students in lower income communities from being exposed to the arts in a hands-on setting. Yes, student matinees put on by local theatre communities but not all schools are able to attend, much less those that have already cut their arts programs. By cutting those programs it makes it nearly impossible for students to have a well rounded education. It further hurts children who are just not cut out for STEM subjects by telling them subconsciously that there is nothing out there for them because they do not provide it in school. This is why we need people who understand the public school system to be the Secretary of Education, not Betsy DeVos who has never attended or been employed at a public school and who thinks that the teachers are overpaid. (PS. my AP Lit teacher was full time at my high school and worked part time at two different colleges just to make ends meet, so thats a load of bull)

If this happens, if Trump does in fact cut the funding and completely eliminate the National Endowment for the Arts, organizations that rely on that funding will have to look for other sources.

What You Can Do

Speak Up!

  • Remember, Donald Trump works for us. Contact your local representatives about all issues that concern you, whether it be the Executive Orders, the “Wall”, or the possibility of cutting the funding to the NEA

Donate what you can!

  • You can go to Arts.gov and donate whatever you can to the National Endowment for the arts. Every little penny makes a difference because even a penny can accumulate interest over the years.

Go see art!

  • Go to the theatre, a museum, symphonies. It does not matter. Take a friend who might normally not be exposed to this sort of culture on a regular basis and introduce them to your world. Research the organization before attending to see if it is a nonprofit, and to reiterate the previous point, donate what you can if you enjoy the work they are doing.

 

Thank you so much for reading. If you have any comments or suggestions, please share them in the comments because I would love to hear what you have to say!

xx Katie

The King and I on Tour

Seen: December 17, 2016
Because I love Rodgers and Hammerstein, because I love classic musicals, and because I have season tickets to the Pantages, I spent a night in Siam with Anna and the King. Having never seen the movie, but knowing my share of the music, I was expecting a nice, enjoyable night at the theatre, and that is what I got. 
 
The King and I is so very classic Rodgers and Hammerstein. So much so that it made me realize something that I, for some reason, had never noticed before: a lot of R+H shows are essentially the same story. A single, strong, leading lady (Anna, Nelly, Maria) is entering a new and unfamiliar territory where she is put up against a strong, stubborn leading man (the King, Emile, Captain Von Trap) where the two bicker and ultimately bond together and realize they complement each other in a unique way that has never happened before. Something happens with the man that the woman does not like and that causes a rift (The King lashes out, Emile has children of mixed race, and Captain Von Trap is going to marry Elsa). All the while there is an impending sense of doom lingering in the air (European imperialism, WWII, Nazi occupation) and a secondary love plot (Tuptim and Lun Tha, Lt. Cable and Liat, Liesl and Rolf) that does not end well. In some way/shape/form the leading couple reunite and make amends with usually a happy ending. 
 
I realized this about twenty minutes into the first act and therefore, the show was predictable. Because I knew essentially how this show was going to end, the story itself started to lose my attention. I found myself paying closer attention to the set and the costumes and realized just how drop dead beautiful it all was. All of Anna’s costumes were just so gorgeous, so big and classic, Catherine Zuber did such a wonderful job. I so badly wish I could just wear just one of her costumes, not the purple ball gown my best friend Nicole likes, but the final dress, the maroon one. God, that was just so beautiful to me. 
 
I was also able to focus more on the individual actors’ performances. Laura Michelle Kelly’s voice is just so pure and a true blessing. She flawlessly took on this role and disappeared into the character, which is a sign of a true great. In a video of her getting into character for Finding Neverland, she mentioned how much she enjoyed working with children and that definitely seemed to transfer to this show. She seemed to be having such a wonderful time with those talented little actors. Jose Llana was also just so great as the king. He had starred twice in the Lincoln Center production and it truly seems like he has taken this role and made it his own and feels really comfortable in it. That is always great to see. 
 
When it comes to the show itself, aside from the fact that its the same as other R+H shows, I think there are some really shitty things about the facts about the story. This isn’t so much about the show, but just about history in general and imperialism and how just fucked up that is. The fact that the King is seen as being barbaric just because of his culture is just not a great thing that happened. The Europeans thinking that they are morally and societally superior than Eastern cultures is something that I just cannot wrap my mind around. Granted, this is coming from the retrospect of a Southern Californian white girl who is of 3/4 European descent. I just do not like the idea that there are cultures that assume they are better than others just because they do not understand it. In the case of Tuptim, the fact that she was given as a gift and forced to be one of the king’s wives, that is the most barbaric thing about the culture. In this story, the other wives don’t really have any complaints about being one of the many, though maybe that is because their voices just are not heard. 
 
In all, The King and I tour was such a wonderful and beautiful production. The talent on the stage is what is the real draw for me, the voices and acting abilities and set and costume designs as opposed to the story and music. Every show has little things that make it great and had it not been for this particular cast and this direction and this lighting design and this costume design and these musicians all coming together for this production, I may not have had as great of a time as I did that night. 

Merrily We Roll Along at the Wallis

About a week ago I realized that, hey, I don’t necessarily need someone to go to a show with me. Obviously it’s nice to share a moment with someone you know, but when you’re sitting in a theatre, you’re silent and staring at the same thing as the other (insert number of seats in any given theatre) people in that room. After I came to this realization, I went onto GoldStar, bought tickets to see Merrily We Roll Along, and drove myself to Beverly Hills.
What I knew about this show going in is the following:
  • Written by Stephen Sondheim
  • Opened and closed in two weeks
  • Has a reputation of never being properly staged
  • Jason Alexander was in the OBC (yes, I grew up with Seinfeld on every day in my house)
  • Opening Doors  
Naturally, I was hopeful about this show. I always am. I never want a show to do bad or be bad because thats just bad karma. Also, I had the great fortune of seeing Deaf West’s Spring Awakening last summer at the Wallis and absolutely adored Michael Arden’s work with that show. When I heard that he was going to be putting Merrily up at the Wallis I knew I had to see it and see for myself if the show really is impossible to stage.
Because I was by myself, I found myself less worried. Whenever I go to a show with my parents or with a friend that is not necessarily a theatre-goer, I find myself worried that they are not having a good time or understanding the show, making the connection I have to it less intense. But when I sat myself between a couple to my right and a father and son to my left, and the lights went down, I was able to intently focus all of my attention on the action on the stage. Instantly I was swept up in the party thrown in Frank’s honor and felt a part of it all, though that may have been helped in part by the 5th row seats (thank you GoldStar).
Now, my thoughts on the actual show vary. Am I supposed to like Frank? He seems so self involved. He says he wants one thing but goes for another, but that could have to do with the fact that in that first scene he says the one mistake he made over and over was saying yes when he meant to say no. Charlie is the only successful one. He goes after what he wants, eventually winning a Pulitzer for the work he wants to do. He is happily married with a wife and kids and with a successful career. Mary is sadly unsuccessful. She’s developed a drinking problem and is still in love with Frank no matter how many wives he cheats on. She wrote one book that seems to have been very successful but the dissolution of the Mary/Frank/Charlie friendship seems to take a massive toll on her professional life. However, there is some sort of silver lining in the fact that while madly in love with Frank, she never ends up with him. If she had, chances are that he would have cheated on her just as he had Beth and Gussie. 
I think the fact that the show works backwards is such an interesting take. At first I didn’t understand it, but when we hit the finale and you see the excitement these characters have for the future and their potential the point is really hammered in. That basically devastated me, broke my heart, and sent tears down my cheeks. 
These kids have so much hope and knowing how it all ends is heartbreakingly, beautifully devastating. They want to make a difference in the world, create works that matter, and do it all together. I suppose this show shows that you can get what you want, but it all comes with consequences and sacrifices, and sometimes those come in the form of friendships falling apart in the pursuit of those dreams. 
While this is the only production I have seen, I really enjoyed a lot of what could only be personal Arden touches. The set is one that exposes backstage. You can see vanities and clothing racks. I took this to be because the show is about friends and writing for Broadway, this element adds to the behind-the-scenes feel. You never see the musical, but you see what goes into it. 
The transitions are just as important to the show as the scenes themselves. With the three dancers in the transitions chasing dreams, encapsulating the hopes and dreams that Mary, Charlie, and Frank had when they were practically children adds so much to the storytelling. When, during the finale, each of these dancers takes the place of these characters on the rooftop and they talk about what a time it is to be alive, the floodgates burst open. I really enjoyed this show. A lot. More than a lot. I loved this show. 
I didn’t know I could love Wayne Brady more as a performer than I already did, but watching him sing Franklin Shepard Inc. was just pure joy. He is such a charismatic performer with so much depth. We all know he’s great at comedy, but the dramatics this show calls for at times was something I did not expect. Also, Donna Vivino, who just might have the best No Good Deed anyone has ever illegally recorded, was phenomenal. She plays Mary with such hope and sadness and love and I was so drawn into her performance. Aaron Lazar did such a wonderful job with Frank that while he is literally the worst, you are still hoping the best for him. 
I just have so many thoughts and feelings about this show, new opinions come creeping into my brain each time I think about it. I truly loved this show so much that I saw it twice in three days, the second time was with a friend who also loves Michael Arden’s work. To make a bold claim, I think Merrily We Roll Along may just be my favorite musical. 
 
Stray Thoughts:
  • I believe Sondheim created rap
  • I actually found the song “Its a Hit” to be funny because of how much of a hit this show originally was not
  • Kevin McHale and Darren Criss were at the first performance I was at
  • Aaron Lazar forgot the line “I saw My Fair Lady” and stammered it out, the second time

Pence at Hamilton

Last night at the Richard Rodgers Theatre in New York City a performance of Hamilton took place. This should have been just like any other performance of this show, but it was not. As it has been WILDLY reported, Vice President-elect Mike Pence was in the audience. As he made his way to his seat, he was greeted with a cacophony, a mixed response of cheers, but also overwhelming boos.
 
To be expected, theaters are full of people with not necessarily conservative views. Theatres are typically full of more liberal minded people. So when the Vice President-elect walks in to a show that praises immigrants like Hamilton and Lafayette and shows that women like Angelica Schuyler are intellectually equal to men. This is a show that doesn’t put the founding fathers or any politicians on pedestals, but paints them in a realistic light. Yes, of course, hip hop, rap, r&b, and jazz weren’t things then and people didn’t break into song, but it is still so realistic. 
 
Apparently throughout the show, when the line “Immigrants, we get the job done” was said, the audience made sure to go EXTRA crazy, in order to solidify the message. The audience wanted to show Pence that this is something they all believed and make sure that he is hearing them as their representative. 
 
Also there were reports of a lot of noise when King George III says, “When your people say they hate you…” for obvious reasons. 
 
Yes, a lot of people at the Rodgers last night hate both Trump and Pence. They stand for a lot of things they do not believe in. I guarantee most of that audience cried the morning of November 9, 2016 when the future was solidified. A lot of them were scared and hurt, and they have every right to feel that way. 
 
These people and likeminded people across the globe felt like finally they were able to show their true feelings towards this man. Trying to make him hear them in the only way they could see fit in the moment. 

Now, the video, seen here


This is the transcript of what President-elect Donald Trump finds to be harassment. Written by Lin Manuel Miranda, Thomas Kail, and Jeffrey Seller and spoken by Brandon Victor Dixon:

“Thank you so much for joining us tonight. You know, we had a guest in the audience this evening. And Vice President-elect Pence, I see you’re walking out but I hope you will hear us just a few more moments. There’s nothing to boo here ladies and gentlemen. There’s nothing to boo here, we’re all here sharing a story of love.
We have a message for you, sir. We hope that you will hear us out. And I encourage everybody to pull out your phones and tweet and post because this message needs to be spread far and wide, OK?
Vice President-elect Pence, we welcome you and we truly thank you for joining us here at Hamilton: An American Musical, we really do. We, sir, we are the diverse America who are alarmed and anxious that your new administration will not protect us — our planet, our children, our parents — or defend us and uphold our inalienable rights, sir. But we truly hope that this show has inspired you to uphold our American values and to work on behalf of all of us. All of us.
Again, we truly thank you for sharing this show. This wonderful American story told by a diverse group of men [and] women of different colors, creeds, and orientations.”

Donald Trump then tweeted this:
What part of this is rude or harassment? Im serious! How could any of this be considered rude? If anything, this is pure courage. 
This show stars Javier Muñoz as Hamilton, an openly gay man who has shared with the world the health battles he has been through. He has fought cancer in the past year and will forever live with HIV. Yet, he remains positive and motivated to tell stories on stage. Last night, he performed the role of Hamilton for a man who, as governor of Indiana, funded conversion therapy facilities. That takes such courage to stand on that stage as a gay man to do that and defy the future Vice President with just your pure existence. 
 
The man who actually reads the statement, Brandon Victor Dixon is not lacking in the courage department either. He became the face of that statement. Dixon, who just last season starred in Shuffle Along, a show about the first all black Broadway show and the discrimination and racism that company faced, is now in a lead role in one of the biggest musicals Broadway has ever seen. That company shows what America looks like now, whether or not Pence would like to admit it. That show is, as it has been said several times before, America then told by America now. 

 

 
The statement itself is a plea. It pleads with Pence to remember those on stage as he takes office in the coming months. The statement is one of that just asks to be remembered and not be overlooked. There is nothing harassing in it or mean or negative. It is to tell this incoming Vice President that we all hope he is inspired by the acts that happened on that stage, showing just how important all cultures are to the fabric of this country. And it was told from once Vice President to another. 
 
Brandon Victor Dixon thanked VP-elect Pence for coming to the show and listening to what they had to say.
It is clear to see that there is no harassment going on here. These people tell stories for a living. The story they told last night just so happened to be a real story about real politicians and a real Vice President that got a little too upset when things wouldn’t go his way.
 
Since last night several people have weighed in on Twitter. 
Christopher Jackson, formerly George Washington in Hamilton
Gavin Newsom, 49th Lt. Gov. of California
 
Guy Branum, comedian
Ben Siemon, actor
 
Kevin Porter, co-host of Gilmore Guys podcast

This is clearly a very challenging and difficult time for many Americans, but this (Hamilton’s) is the kind of class that needs to be shown in the coming times. I have hope for the theatre community and for America because without hope, we have nothing.