Hamilton and Hello, Dolly!–complete opposites of the musical theatre spectrum, one would think. StageAgent editor and blogger, Laura Ware, shares her thoughts on the correlations in such different shows and their relevance in our current political climate, and how much we need both of them today in the growth and influence of musical theatre itself.
Throughout history, art has reflected the time in which it was created, whether it serves as a mirror for the present, a reminder of days long gone, or a glimpse into the future. Those who appreciate art often look to it for guidance, or inspiration. Hamilton gives a gritty edge to what has often been a whitewashed history lesson. Camelot presents a magical, idealistic take on the rules of governance. If ever there was a time to have both shows running on Broadway, I think now is that time.
Standing on the stage of the Richard Rodgers Theatre, after a quiet Sunday matinee of Hamilton, I looked out into the gilded, empty house, and thought, “What would Hamilton think of ALL THIS?”
My first night in town I waited at the stage door to ride the train home with a friend in the cast. I thought to myself, “Why is there a fifty year old man standing in a planter box waiting for a glimpse of these people he doesn’t even know? Why are people screaming SO loudly? WHY CAN’T I JUST WALK ON THE SIDEWALK!?” I’d never seen a stage door so reminiscent of a Hollywood red carpet. And they’re all here to watch a play.
Come October 31st, anyone can don a Halloween costume and knock on any Broadway stage door, at which point the trick-or-treater will be given a fun-size candy and a quick audition.
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