“Yes, it really is that good.”
That is how NY Times drama critic Ben Brantley opened his second review of the play Hamilton after it had moved from its birthplace in the Off-Broadway Joseph Papp Public Theatre to the Richard Rogers Theatre on 46th Street.
We saw the show this past Sunday night overcoming a number of obstacles:
- Winter’s indecision about showing up at all this January was finally answered Sunday with a series of late afternoon /late night snow squalls;
- I sustained an injury in the theatre when a large gentleman, who tried to maneuver his way along the cramped aisle of the mezzanine, suddenly tumbled and fell down three rows landing on his back, turtle-like, and <CRACK!!> onto the back of my head and neck;
- The 7 block= 21 minute stumbling sprint for the train after the play- hobbled with the aforementioned snow squalls and head injury.
Despite these obstacles, we loved every rap, hip-hop, and R&B ballad and every choreographed gyration of this opera-like testament to the men of the genius cluster we refer to as the Founding Fathers. This time, however, the genius is Lin-Manuel Miranda (American composer, lyricist, librettist, rapper, and actor) and his cluster of actors and dancers in the play.
Yes. I agree with Brantley….it really is that good.