Heard of this little show called “Hamilton”? Oh, that’s just a little arts editor humor now that the most anticipated musical to hit Hollywood has rolled into town. I’m Craig Nakano, The Times’ culture editor, filling in for your usual newsletter host, Carolina A. Miranda, who will return next week. Until then, we have a behind-the-scenes look at Lin-Manuel Miranda’s revolutionary bit of theater history, plus one or two things for you non-Hamiltonians too.
Can ‘Hamilton’ overcome the hype?
You’ve heard (or at least heard about) the audacious hip-hop musical about our Founding Fathers, the diversity of the cast, the critical acclaim. For fans who have waited months to see the show, expectations may be impossibly high — just like ticket prices. But in the end, Times theater critic Charles McNulty says, what matters is the work — and this work really matters.
First person: Oskar Eustis
As artistic director of the Public in New York, Oskar Eustis had a front-row seat to the evolution from song collection to theater juggernaut. The power of “Hamilton,” Eustis tells us, is its ability to unleash the patriotism that some audience members didn’t even know they had, to connect people to their country in a way they may never have felt before. “It allows progressives to unashamedly love America,” he writes. Don’t miss his first-person piece or the archives photos he shared.
For more “Ham” history, Times staff writer Deborah Vankin compiles an entertaining timeline with the 2009 video of Miranda at the Obama White House’s poetry jam, singing, “How does a bastard,…