Home Is Where the "Heights" Are: Unfurling Lin-Manuel Miranda’s “Carnaval del Barrio”
Maven scholar Dan Berlfein breaks down the music theory behind all the foot-stomping and flag-waving
Shalom, Broadway lovers!
In today’s MARQUEE: The Broadway Maven’s Weekly Blast: A) a Maven Scholar video about the music theory behind “Carnaval del Barrio” from In the Heights; B) a Broadway Blast about The King and I and The Sound of Music; C) a photo of The Broadway Maven at the Wicked attractions at Universal Studios Hollywood; D) a capsule review of the production of Fiddler on the Roof with Seinfeld star Jason Alexander now playing outside Los Angeles; and E) a Last Blast about Mamma Mia!.
ANNOUNCEMENT: MARQUEE is now a FREE publication, with the full version available to everyone. And the ALL-ACCESS Pass program is being phased out, with current Passes expiring December 31. Anyone else who'd like to attend all the Broadway Maven classes (such as the upcoming “Lyricist Lessons” and A Chorus Line) can become a Member for just $18 a month, which provides access to 5-15 classes and expert-let Broadway experiences. It includes a password to the Clips Archive and periodic giveaways to Broadway and off-Broadway shows, including at least one opening night performance and party. Join this vibrant learning community at the button below, and through December 31 only we’re offering non-Members one month’s FREE membership (cancel at any time).
STUDENT VIDEO: A cultural and emotional touchstone of Lin-Manuel Miranda's first Broadway show, In the Heights, is the song "Carnaval del Barrio," in which diverse Hispanic immigrants celebrate their Latin pride. In this video, Maven Scholar Dan Berlfein demonstrates the music theory behind this beloved number. And watch through the end of the video, since that's where Dan makes an observation that may help you think about Miranda's work in a new way.
BROADWAY BLAST: The evolution of whistling from isolation to connection is a subtle motif in two different Rodgers and Hammerstein shows. In The King and I, Anna begins with "I Whistle a Happy Tune," where her whistling is a tool of self-reassurance, used to mask her fear and maintain composure in a foreign and intimidating environment. Over time, her influence on the royal family leads to more meaningful connections, symbolizing her transition from isolation to forming deeper relationships. In The Sound of Music, the Captain’s impersonal whistle, initially used to command his children, is gradually replaced by family singing, marking his emotional thaw and reconnection with his children. Rodgers and Hammerstein use this transformation of whistling in both shows to symbolize emotional growth, illustrating how characters move from solitude to building deep, personal bonds through the universal language of music.
REVIEW: In a thoroughly non-schtick performance, Jason Alexander is currently playing Tevye in Fiddler on the Roof at the La Mirada Theatre outside Los Angeles. Directed by veteran helmer Lonny Price, the production presents a fresh take on the classic tale of tradition and change in an Eastern European shtetl. Alexander's performance was funny but not gimmicky -- the audience got to see Tevye, not George Costanza. Standouts in the cast included all three of the young suitors to Tevye's daughters and the Chagall-inspired set. Though the stage was not particularly large, the production burst with energy in the tradition of Jerome Robbins, Zero Mostel, and the other giants who made this show great. One caution, though: in an age in which pogroms have returned to Europe (for example, the alarming recent attacks on Jews in Amsterdam), the attack on Mottel and Tzeitel's wedding was both more salient and more threatening. But on the whole, the production was an outstanding visit to Anatevka, the beloved town to the characters in the show and to Broadway lovers everywhere.
Join us for a deep dive into the revolutionary music of Hamilton with music educator and Broadway Maven co-host Mateo Chavez Lewis leading the class from his piano. Whether you’re a longtime fan of the musical or new to the world of Broadway, this three-part course will break down the brilliance behind Lin-Manuel Miranda’s iconic show in ways that are both fresh and deep.
The FREE class meets on Sunday, November 17 (act one) and Sunday, November 24 (act two) at Noon and 7 pm ET.
Note: A full calendar of upcoming classes is always available at TheBroadwayMaven.com.
• Thursday, November 14 5:30 pm ET Juilliard Prof. Edward Barnes’s class on Irving Berlin’s “This is the Army” — 20 percent off for non-Members who use the code MAVEN20; FREE for ALL-ACCESS and Members (you’ll receive your own code via E-mail).
• Sunday, November 17 Noon and 7 pm ET The music of Hamilton Act One (FREE, register here)
• Tuesday, November 19 Noon ET Lyricist Lessons part two (Members only)
• Wednesday, November 20 Noon ET Guest speaker Louis Hobson, who played Dr. Fine and Dr. Madden in the original Broadway production of Next to Normal (Members only)
• Sunday, November 24 Noon and 7 pm ET The music of Hamilton Act Two (FREE, register here)
• Monday, November 25 Noon ET “Transition: Broadway's surprising history between Oklahoma! and Carousel“ with Broadway Nation host Prof. David Armstrong (Members only)
• Tuesday, November 26 Noon to 2:30 pm ET SondheimFest part one (FREE, Registration opens soon)
• Tuesday, November 26 7 to 9:30 pm ET SondheimFest part two (FREE, Registration opens soon)
• Monday, December 2 Noon and 7 pm ET A Chorus Line part one (FREE, Registration opens soon)
• Tuesday, December 3 Noon ET Sondheim: Bit by Bit (Members only)
• Monday, December 9 Noon ET A Chorus Line part two (Members only)
• Tuesday, December 10 Noon ET Sondheim: Bit by Bit (Members only)
NOTE: As always, Broadway Maven Members and ALL-ACCESS Passholders (through December 31) do not have to sign up or pay for anything. Just show up!
LAST BLAST: In Mamma Mia!, at least four character names underscore the story’s deeper themes. The show is set in Greece, and protagonist Sophie has a name that means "wisdom" in Greek. Similarly, one of her putative Dads, Harry, has the surname "Bright," which also evokes wisdom and insight.. Both names symbolize knowledge and clarity, which underscores the characters' journeys of self-discovery. As Sophie uncovers more about herself and her family, she gains clarity not just about her biological father but about the broader meaning of family. A key moment comes when Harry reveals that he is gay, explicitly stating that families come in many forms. This declaration sets the tone for the final moments of the show, as Donna marries Sam later in life (finally becoming a "donna," a term associated with married Italian women) and Sophie, empowered by her newfound understanding, defines her future with Sky (like "sky’s the limit") on her own terms, embracing the endless possibilities ahead.
The Broadway Maven is a vibrant educational community that helps its members think more deeply about musical theater. Every month, members may attend 5-15 expert-led classes and innovative Broadway experiences, all for just $18. We also foster enthusiasm for Broadway through the FREE weekly substack newsletter MARQUEE and host an expansive YouTube channel. It's your home for Broadway appreciation. Contact The Broadway Maven at DavidBenkof@gmail.com.