The Real People of "Hamilton"
Lin-Manuel Miranda as Alexander Hamilton, all photos by Joan Marcus, courtesy Hamilton
Hamilton, the smash hit musical that just moved from the Public Theater to Broadway, is revolutionary for obvious reasons as well as less obvious ones. It portrays our founding fathers in an array of skin colors and translates their most fervent revolutionary ideas into rap. It reveals a powerful connection between the defiance of the American Revolution and the defiance of hip hop—not to mention the consistency of the immigrant experience over centuries. But has anyone mentioned the wigs—I mean, the absence of wigs?
With the exception of King George, almost everyone in the cast wears their own hair. This may not sound like a big deal, but most Broadway shows sport several wigs for each character, sometimes hundreds per show. It helps the performers get into the time period and the characters. But in Hamilton, the look is so natural that you feel you are getting to know each character.
Phillipa Soo, Renée Elise Goldsberry, and Jasmine Cephas Jones as the Schuyler sisters
Paul Tazewell’s costumes the cast in elaborate dresses and military outfits true to the late 1700s. But the faces and heads atop those getups are contemporary. At last Wednesday's matinee, Thomas Jefferson had a kind of Afro shag, George Washington had a shining bald pate, and one ensemble woman sported a platinum pompadour. Lin-Manuel Miranda, the genius behind the Hamilton phenomenon, wears his hair long, which looks right for the part but we also know its right for now.
This natural look honors individuality. It lets you identify with the diversity of the people who make up America. They could be us! At the same time, it helps transport us to the time and place of the thirteen colonies.
Miranda in center
The entire show buzzes with dancing. Andy Blankenbuehler’s choreography conjures a hip-hop base to match the rapping score, but embellishes with a little tap, a hint of cheerleaders lifts, and even a classical arabesque here and there. There is dancing in almost every number, making the founding fathers look like quite a jumpy bunch.
The shocking realness of the presentation reminds me of a bold step taken a few decades ago that was also very American. In the early 70s, when Arthur Mitchell had just started Dance Theatre of Harlem, he jettisoned the standard pink tights in favor of a range of hues that matched the skin tones of the women in the company. The pointe shoes were also colored to match. In a way, DTH created its own revolution!
Booking a gig on a cruise ship can feel like you're diving into the unknown—dropping everything to live in the middle of the ocean without family, friends or cell service. But cruise jobs can also offer incredible rewards, like traveling the world for free and delving into a new style.
Is ship life the right fit for you? Here are some elements to consider.
We knew that New York downtown dance darling Okwui Okpokwasili was a big deal. Critics and audiences have been raving about her dance-theater works for years, and the new documentary about her, Bronx Gothic, has attracted the attention of the larger arts community.
But never in our wildest dreams did we imagine she'd show up in a Jay Z video, along with flex dancer Storyboard P. Though we're slightly less surprised to see Storyboard in Jay Z's "4:44" video than we were to see Okpokwasili, we're jazzed that two of our favorites are featured on such a huge platform. (We're also feeling #blessed that we didn't have to subscribe to Tidal to watch this.)
Throughout the years, choreographer Seán Curran has worked with a diverse array of talented collaborators—from Kyrgyz music ensemble Ustatshakirt Plus to the the Grammy Award–winning King's Singers. But perhaps none are as meaningful as his most recent group of co-choreographers: At-risk teens from the after school program and nonprofit The Wooden Floor.
Curran has been in residence with The Wooden Floor since June, where he's worked with students to build choreography based on their lives and communities:
Their creation will be shown July 20-22 at The Wooden Floor Studio Theatre in Santa Ana, California.
"Besides the stage, baking is my other happy place," says New York City Ballet corps member Jenelle Manzi.
Four years ago, she thought her baking days were over when she was diagnosed with gluten intolerance. Manzi had been dealing with pain, frequent illness and joint inflammation for nearly 10 years. Once she cut out gluten, Manzi gradually started to feel better, noticing a transformation in how her body felt and functioned. She found her joints were less inflamed, and she got sick less often.
New York City Ballet soloist Unity Phelan and American Ballet Theatre soloist Cassandra Trenary spend every day making their hard work look effortless and graceful both in the studio and onstage. That's exactly what makes them the perfect spokesmodels for the dance-inspired activewear line, Belle Force.
To celebrate our 90th anniversary, we excavated some of our favorite hidden gems from the DM Archives—images that capture a few of the moments in time we've documented over the decades.
This image was captured during a 1978 New York City Ballet tour that took the company to Copenhagen—home turf for Adam Luders (right), who trained at the Royal Danish Ballet School and briefly danced with the company before joining NYCB as a principal dancer in 1975. Next to Luders is (of course) George Balanchine, in conversation with ballerina Suzanne Farrell. And looking on with a smile? NYCB's current ballet master in chief Peter Martins.
On March 8, 2016, Rami Shafi found himself inspired to film an impromptu dance video of his best friend, Aaron Moses Robin, improvising on Gay St. in New York City's Greenwich Village. Thus was born Pedestrian Wanderlust, a collection of dance videos that has grown to include a monthly improv jam.
Shafi works with anyone who wants to take part in the project, filming videos in locations chosen by the dancers and later adding music. The videos are shot on Shafi's iPhone in one take and, other than the starting and ending points, are entirely improvised. The editing afterwards—including the music choice—is minimal. "I don't like to edit too much. It's just what it is," says Shafi. "I usually can do the editing on the train ride home."