“

“Toward the end of my run in the Broadway company, you know, it got a little scary outside the theater. I was negotiating secret exits the last month of the run. It was unsafe for me to do the stage door. It wasn’t that good fans turned bad or anything like that. It’s just that when people feel like time is finite to see someone, the urgency is what makes it scary. You know, ‘We have to get that selfie now.’ ‘We have to get this autograph right now,’ as opposed to life being long.”

[…]

“Listen, here are my lessons, my takeaways from the show’s success. One, I had my idea for it during my first vacation from ‘In the Heights,’ so vacation’s important. Two, ‘Hamilton’ was an idea that everyone said was crazy and yet here we are. So it gave me a confidence in my instincts.”

Confidence in instincts? Well, sure, I say. But this is not an ordinary level of success. “Hamilton” is something else entirely.

“You know what? My answer to you on all of this is actually embedded in the show. I cannot worry about how the world perceives the show. I can worry about the quality of the production, the words being spoken and sung. But I have written a show where everybody is grappling with their legacy. Look at (Alexander) Hamilton’s legacy. A guy who did an enormous amount in his short lifetime. But you also saw it get buried. His enemies all succeeded him. There was a period when he was the bastard of American history. He falls in and out of favor. Jefferson falls in and out of favor. All I can control is the work itself. There will be times when ‘Hamilton’ is hailed. There will be times when ‘Hamilton’ is pilloried.”

Those will have to be different, unfamiliar times.

“The wind will do with it as it does. All you can do is throw the kite in the air.”

”

–

‘Hamilton’s’ Lin-Manuel Miranda and the terrifying urgency of fame (Chicago Tribune)

Reposted from http://ift.tt/2ehmo8j.