(K. Brent Tomer),
LIVE theatre is an artisanal art form. Even a big show serves, at most, 2,000 people at a time, which seems almost quaint in this era of viral cultural phenomena. Many people never hear about acclaimed productions being performed on their own doorstep, much less works that may be earning praise overseas. Yet for some reason nearly everyone, from New York to Nottingham, is talking about “Hamilton”.
A musical about America’s first treasury secretary does not sound like obvious material for a blockbuster. A hip-hop score and largely non-white cast would seem to guarantee it a place in the cultural margins. But tickets to “Hamilton” have been well-nigh impossible to get since its off-Broadway premiere in January. Near-universal critical acclaim and an insatiable public ensured a quick transfer to the Richard Rodgers Theatre on Broadway in August, where it is now sold out for the next ten months. Other cities want to get their hands on the show: Chicago will have its own production next September. Cameron Mackintosh is working on bringing “Hamilton” to London in 2017. At a time of bitter political polarisation, this musical even enjoys a rare…Continue reading