It's a rap! Deep inside the score of Hamilton
BroadwayCon panel of Broadway Maven faculty find hidden nuances and subtle genius
Thrillifying! The Broadway Maven will be offering a FREE class on Wicked Tuesday, March 4 at Noon and 7 pm ET. Co-instructors Broadway Maven David Benkof and music educator Mateo Chavez Lewis will dive deep into the hottest musical theater property of the moment (setting box-office records in both its stage and screen versions). What is it about the story, the music, the lyrics, the set, the costumes, the lore that makes the show so beloved? There's no cost for the class, although if you become a Member of The Broadway Maven there are three more swankified classes the following three Tuesdays that will go even deeper into the green-shaded beauty of this landmark show.
Shalom, Broadway lovers!
In today’s MARQUEE: The Broadway Maven’s Weekly Blast: A) a student report about an excellent Hamilton panel at the recent BroadwayCon; B) a Broadway Blast about Waitress; C) a review of the Broadway-bound Sondheim revue Old Friends currently playing in Los Angeles; D) footage from and a description of the “book writers” panel at BroadwayCon; and E) a Last Blast about Company.
STUDENT REPORT: Lin-Manuel Miranda’s music for Hamilton is tightly packed, allowing viewers to uncover new details with each revisit. A highlight of the 10th annual BroadwayCon, held at the Marriott Marquis hotel in Times Square, was a deep dive into Hamilton’s intricate and complex score. The three presentations given at this panel each analyzed different parts of the score, displaying details that many in the audience, me included, had never thought about previously.
(Note: a video including two of the sessions is below. Composer and YouTuber Howard Ho is preparing his own video for his excellent channel, and it will be featured in an upcoming issue of MARQUEE's sister publication StageStreams.)
The first presentation, by Juilliard Prof. Edward Barnes, highlighted several instances where Miranda combines music from past eras with the music of today to tell his story. He showed us two chord progressions, one that was popular during the Baroque Period and one from the 1950s, both of which are used in the opening number. It opened my eyes to the reasons why we associate certain sounds with different time periods. Of course, these chord progressions weren’t used just because they sound good; they are intentionally put in chronological order to signify the idea of progress, which is a key theme in the show.
Howard Ho focused his remarks on just the first measure of the entire show. Among his comments, he brought attention to an easily overlooked detail: a sound effect that Miranda himself dubbed the “door squeak." The origin of this leitmotif is pretty funny, with Miranda having found a sound file of a door opening, but it soon becomes clear that it can be heard everywhere throughout the musical. Miranda was able to turn that sound into a melody and weave it into different songs and plot points, where we see metaphorical doors open and close for the characters.
Speaking of leitmotifs, the final presentation, given by Mateo Chavez-Lewis, explored the various ones given to each character. I had never realized that Angelica, for example, was given two leitmotifs, both derived from the pentatonic scale. However, the biggest takeaway for me was the importance of silence in music. The moments where a leitmotif is unexpectedly absent is usually just as intentional as when it’s present, so both instances deserve equal amounts of attention.
Throughout the panel, I was reminded of a quote by Stephen Sondheim: “I have a defense for nearly every line in the song." A common trait in many, if not all, of the successful composers and lyricists throughout theater history is the effort made to have an explanation for every creative decision. The presentations showcased not only some of the tools used to make Hamilton’s score vibrant and interesting, but the reasons that they were used as well.
All the presentations were well-researched, as was reflected in the enthusiastic audience response. All the points made in each presenter's analysis can be applied to other shows if you dig deep enough. As such, I’m excited to see what new details I discover in my other favorite musicals, and I’m sure many of the other attendees feel the same way after this panel. -Tatiana Atehortua, Maven Scholar Spring 2024
BROADWAY BLAST: In Waitress, mixing and separating are more than baking terms—they’re metaphors for how characters navigate love and identity. Jenna, a natural “mixer,” creates pies that blend chaotic elements into harmony, reflecting her ability to embrace life’s messiness and find beauty in imperfection. Around her, however, are characters who prefer separation: Joe demands his tomato “on its own plate,” symbolizing his emotional detachment; Becky's invalid husband "sleeps in a separate room"; and Dawn and Ogie share a quirky insistence on keeping their food from touching, a reflection of their guarded individuality. Yet Jenna’s influence encourages them all to mix—Joe urges her to take risks and pursue her dreams, Dawn and Ogie overcome their quirks to build a life together, and Becky steps out of her static situation to embrace a new relationship with Cal. In Waitress, mixing life’s unpredictable elements, though messy and uncertain, becomes the essential ingredient for fulfillment.
REVIEW: The Broadway-bound Sondheim revue Old Friends is currently playing in Los Angeles, and I enjoyed seeing it for the second time on Tuesday. (I reviewed the London version of the show more than a year ago.) The cast has evolved, though it still highlights Sondheim's buddy Bernadette Peters and the lush-voiced Lea Salonga (who is set to play The Witch in Into the Woods in her native Philippines this August). The song list is also mostly the same. But this time there were some "old friends" I felt were missing, namely Hugh Wheeler, James Lapine, George Furth, and the other book writers who helped Sondheim's songs hit home. "A Weekend in the Country" doesn’t hold up well outside of A Little Night Music, for example, and Company's "You Could Drive a Person Crazy" isn't nearly as much fun when there's no Bobby in the picture. But Sondheim's inspired catalog and a talented cast (Tony winner Beth Leavel was a particular standout) made the show a worthy way to spend an evening. Broadway, watch out!
BROADWAY MAVEN YouTube GEM: Broadway's book writers are key to the success or failure of a show, yet even the most successful typically work under the radar of most Broadway fans. In part to address that problem, The Broadway Maven convened a panel of esteemed book writers at BroadwayCon earlier this month. Longtime Sondheim collaborator John Weidman, Tony winner Robert L. Freedman (A Gentleman's Guide to Love and Murder) and Wicked scribe Winnie Holzman offered advice for aspiring book writers, discussed "second act trouble," delineated the differences between writing for the stage and for the screen, and identified Broadway books that deserve to be called "perfect."
DRAWING: The next Members-only drawing for an opening on Broadway (yeah, "glitz" is the right word) is the highly anticipated drama Purpose by Tony winner Brandon Jacobs-Jenkins. Directed by Phylicia Rashad, the show is an epic family drama about a prominent Black political family. The winner of the drawing will receive one (1) ticket to the Monday, March 17 opening-night performance as well as an invitation to the star-studded afterparty. Broadway Maven David Benkof, musical theater genius Peter Filichia, and longtime student Donna Scarfe will be there as well, so the Member who wins the drawing will "know" at least somewhat the people they'll be sitting (and partying) with. Broadway Maven Members will receive instructions on how to enter in an upcoming Friday Blast. Some of the previous drawings have involved 10 or fewer entrants, so your odds are pretty good. To be eligible, join The Broadway Maven today!
PARLEZ-VOUS? Do you speak French? Do you love Sondheim? Broadway Maven David Benkof (who happens to be a polyglot), in preparation for a mid-March speech about The Master in Paris (where, of course, the first act of Sondheim's Sunday is set), will be offering a trial run on Zoom on Sunday, March 2. The session, covering the highlights of Sondheim's career, is FREE and is appropriate both for fluent speakers and those who are still learning. If you are interested, send a note to BenkofStaff@gmail.com and you'll get a detailed invitation (en français) with a Zoom link. Merci in advance!
MEMBERSHIP: Broadway Maven Membership is just $18 a month and includes 5-15 classes and other expert-led Broadway experiences, plus a password to the Clips Archive and periodic giveaways to Broadway and off-Broadway shows, including at least one opening-night performance and party. Upcoming Members-only classes include Road Show with Gail Leondar-Wright; two trivia parties; a “Savoring Broadway” presentation (similar to David Benkof’s BroadwayCon talk); the final three parts of a four-part course on Wicked, and a two-part class on Black Broadway. Join this vibrant learning community at the button below. It’s your home for Broadway appreciation!
Note: A full calendar of upcoming classes is always available at TheBroadwayMaven.com.
• Tuesday, February 25 7 pm ET Road Show with Gail Leondar-Wright (Members only)
• Thursday, February 27 Noon and 7 pm ET Trivia Party for Members
• Sunday, March 2 midi ET Discours : Sondheim en Français (GRATUIT, répondez pour recevoir une invitation)
• Tuesday, March 4 Noon and 7 pm ET Wicked FREE first week of a four-week course (Register here)
• Wednesday, March 5 4 pm ET (note unusual time) “Savoring Broadway” lecture (Members only)
• Monday, March 10 Noon ET Black Broadway: The Lost Decade with University of Washington Prof. David Armstrong (Members only)
• Tuesday, March 11 Noon and 7 pm ET Wicked part two (Members only)
• Monday, March 17 Noon ET Black Broadway: the Jazz Age with University of Washington Prof. David Armstrong (Members only)
• Tuesday, March 18 Noon and 7 pm ET Wicked part three (Members only)
• Monday, March 24 Noon and 7 pm ET The Rocky Horror Show (Members only)
• Tuesday, March 25 Noon and 7 pm ET Wicked part four (Members only)
LAST BLAST: It's a small thing—and unknown to people who don't check the score or the program book—but the song in Company with the refrain "I'm not getting married today" is officially titled "Getting Married Today." In it, Amy explores all the reasons why she doesn't want to marry her fiancé Paul, and it's only when she stops singing that she decides to marry him. The song's name succinctly captures the turning point in Amy's decision, illustrating how her frantic objections, expressed through rapid-fire lyrics, ultimately lead to her realization and acceptance of marriage once she stops singing. It's also foreshadowing of the end of the show in which Bobby sings "Being Alive," a song which starts with the reason not to get married and ends up committing (to the idea, at least).
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.
Mateo, so insightful and instructive. I had a sense of these leitmotifs from hearing the music, but really appreciate how Mateo puts them all together theoretically.