Theater critic Helen_E_Shaw revisits The Book of Mormon and Hamilton and comes away with different impressions of both Broadway hits than she did earlier in the decade
Hamilton and The Book of Mormon read differently now. Photo: Illustration by Ari Liloan; Photo by Joan Marcus Every decade gets at least one Broadway juggernaut. In the theater in the 2010s , we had two. In 2011, The Book of Mormon roared into town to universal acclaim, immense box office, and — crucially — stamina. This thing had legs, it had guts, it had the tourist market by the short hairs. And then, of course, came Hamilton.
Until the plane lands, the show is still hilarious. I saw a stand-in for Elder Price — the gifted Bud Weber — and perhaps due to having someone new onstage, the cast seemed pleasantly surprised by one another. There were glints in the eyes, stifled giggles, a general air of slightly rambunctious bonhomie. The actors in the pre-Uganda portion are young white men, all triple threats, all as precise as military cadets.
Miranda was writing for particular voices, with specific gifts. For example, he posed insane challenges to the show’s original Marquis de Lafayette, Daveed Diggs, issuing him Autobahn-speed raps that needed to be delivered in a heavy French accent. What musical-theater program is teaching anyone how to do that? Again, I saw a fill-in , and he struggled mightily till he found his feet in the less taxing second act.
France Dernières Nouvelles, France Actualités
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