La Boheme Analysis

Within Hamilton, Lin-Manuel Miranda brings history back into the present through his musical. Originally performed at The Public Theater in 2015, the musical was quickly a popular hit and made its way to Broadway. Now performed at the Richard Rodgers Theatre, Hamilton has won 11 Tony awards and multiple honors. Director Thomas Kail and lead producer Jeffrey Seller made many of the final decisions of the production, and through them Miranda’s time and investments, the musical became a success. Now, the musical functions as a public history as it revives the importance of the past, as well as redefines the ways history is made and learned through the integration of rap and hip-hop style in musical theatre.

Lin-Manuel Miranda’s Hamilton divulges the human need to have a purpose and the transformative journey in obtaining it. The musical follows one of America’s founding fathers, Alexander Hamilton, from the time he was a young boy to the successful creator of the national banking system. Hamilton encounters many challenges, both environmental and internal, in his lifetime, while also acquiring long-time foe, Aaron Burr, in America. Alexander Hamilton’s character develops as a hard-working, honest man that transforms into a conniving individual in order to pass his legislation and scale up the political totem pole. Aaron Burr’s jealousy of Hamilton’s progress instigates a transformation in his quietest character.

The musical “Hamilton” is the most sought after musical in years. It is the first seen rap musical and it has received the most ‘Tony’ awards and nominations in Broadway history. Hamilton premiered off Broadway in 2015 and soon moved to Broadway to stun the world with it’s incredible everything, from plot to casting. For best albums, Hamilton was second ranked in Billboard magazine and has got endless supply of recognition for the ingenious play written by the phenomenal Lin Manual Miranda. Hamilton is currently the most popular sensation on Broadway because of the music with its creative lyrics and hidden messages, it’s stellar performance and the perspectives it gives us on the people that founded our county. (on the people that shaped our past and developed our future).

This paper focuses on the diagnosis and treatment of the character Maureen Johnson from the musical Rent. The story of Rent takes place in New York City in the 1990s and focuses on a group of young adults as they struggle for success while staying true to their beliefs and their relationships with one another (Columbus, 2005). Through her interaction with the other characters and beliefs about herself, Maureen’s psychopathology becomes evident.

At the end of World War I, an excited America was poised for a cultural renaissance; patriotism was on the rise, the strong concept of Manifest Destiny had passed its peak of influence, and, most importantly, there had not been a clear shift in culture for decades. The Jazz Age of the 1920s was about to dawn, bringing with it youthful, risqué morals and a carefree look on life. From these ideals, a new, strongly American form of entertainment would emerge: musical theatre. Most commonly found in New York City on Broadway even to this day, musical theatre became an escape from reality and an entry into the imagination. The grand and splashy components that make up what is considered a classic Broadway musical can ultimately be traced back to Cole Porter. Porter’s writing, albeit at times controversial or raunchy, was able to harness the frantically beating heart of the Jazz Age and turn it into treasured shows. Using his unique melodies, romantic or idealistic lyrics, and his pioneering of writing about the human experience, Cole Porter shaped American music and theatre from the 1920s through the 1940s.

First of all, I decided to watch the movie Rent, which was based on Jonathan Larson’s Pulizer and his Tony award-winning musical, which has also appeared on Broadway many times. The film and musical are about a group of artists, eight friends, who are living in New York City during the HIV/AIDS epidemic. They each are dealing with different problems in their lives, such as HIV/AIDS, drug addiction, rejection, and poverty. This movie had a very tremendous impact on me, and I was very impressed with how they tied each theme into it. I was moved in a way that it has even effected the way I look at others, and overall at life.

the rest of the century. As you watch these videos notice how musicals come to represent

“Suspend your disbelief,” is not what playwright Bertolt Brecht wants you to do when you see his musical about the story of the founding fathers on Broadway. Brecht wants his audience to be conscious of the fact that his musical is in fact just that: a musical.

Jukebox musicals began in film and later shifted to theatre. They had begun to make theatre more popular with the public, which had begun to gravitate towards film and music. By combining the two, they gain some of the same as well as a whole new audience. I will discuss how this came to be by speaking of the shift that occurred.

Throughout time, art has changed the way people perceive history. Lin Manuel-Miranda’s Hamilton has had a strong influence how people view one of the Founding Fathers and the era he lived in. Before Lin Manuel-Miranda took on the task of producing a musical for Hamilton, people had an idea of who the Founding Fathers were and what they stood for. However, Manuel’s take on Hamilton wanted to present American history in which people of diverse cultures and women share the same spotlight with the Founding Fathers. In the musical, Manuel thought it was important for Hispanics and African-Americans to play as the Founding Fathers, so it reminds the audience American history is not composed of one race. Although critics, like Nichols, believe "superficial diversity” of the play’s casting results in a failure to

As we dressed for the show, my thoughts were flooded with images and ideas. We descended the hotel stairs, hailed a taxi, and arrived at the theatre; while I remained in a pleasant daze. My first impression of the Nederlander met and exceeded all my expectations. I had envisioned an old theater, forgotten by the Broadway elite. As we walked to the door, we were able to see the wall signed by the cast and photos of the premier. The theater itself had a rundown feel to it and left you with the distinct impression that the magic was within the walls and on stage. As we entered the doors, I soaked in every thing. Our seats were located in the center, orchestra section, which gave us a perfect view of all the action.

The musical Rent is a representation of the Bohemian lifestyle of being different and being able to explore and be unique. What makes this musical so unique is its revolutionary musical style and a plot like no other. The lyricist and composer of the musical Jonathan Larson did something no one would ever imagine and go outside of the box. Who would have thought of putting lesbians, gays, HIV and AIDS victims, and the life of a Bohemian into one rock and pop based musical? This struggle to survive and accomplish things makes Rent amazing.

The plot of Rent borrows heavily from its predecessor. La Boheme was also based on young artists and free-thinkers, and these characters were afflicted with the plague of the time period, tuberculosis. Similarly, in Rent the artists are all affected in some way by the HIV and AIDS epidemic of the 1990s. The story highlights the two roommates Mark and Roger. A former tragedy has made Roger numb to life, and Mark tries to capture the ups and downs of his friend’s lives on tape through his attempts to make a film.

“Shrunken perhaps by the vicissitudes and exigencies of the times, Broadway presented itself admirably throughout the Thirties. It not only managed to preserve the best, but also nurtured and expanded them. At the brink of the new decade, Broadway stood smaller but brighter”

has been recognized as a new kind of musical play that denied its Broadway audiences many of their most treasured traditions, says David Ewen in American Musical Theatre. There was no opening chorus line, no chorus until midway through the first act, in fact. There was rather a serious ballet and other serious overtones, including a killing in act two. The story, which was so simple, seemed to engage the audience in more than mere evening diversion. (248) These changes, far from disappointing to viewers, were upheld by a success that had never been seen in the history of musical theatre.