#braodway

[jaredfromsiliconvalley]

When Jeff Goldblum says, "Elphaba you've been so strong. Aren't you tired of being the strong one? Wouldn't you like someone to care for you?" I'm not supposed to fall in love??? I'm not supposed to fall hopelessly in love with him???? I'm already crying thinking about it

[citizenscreen]

George Kaufman and Moss Hart's comedy "The Man Who Came to Dinner" opened at the Music Box Theatre on Broadway on October 16, 1939. Monty Woolley starred as Sheridan Whiteside and reprised the role in the 1942 film version.

[desmon1995]

Hamilton, Weaponized Wokeness, and the Internet’s Compulsive Guilt Complex

So we need to talk about Hamilton. If you’re part of a certain demographic that grew up with it in the mid-2010s, you probably remember the near-religious zeal that surrounded this musical. People were quoting it like gospel, crying over the mixtape, and breaking their banks to see it live. But now? Now, a lot of those same fans are backtracking, performing intellectual gymnastics to disown their past love. Why? Because Hamilton doesn’t check every box on today’s “woke” checklist. It’s revisionism, pure and simple, and it’s more a reflection on the critics than on Hamilton itself.

For starters, let’s talk about what Hamilton was at the time. This wasn’t just another musical; it was a cultural moment. Especially for Black and brown theater performers and fans, Hamilton was revolutionary. It put actors of color in roles traditionally whitewashed, blended contemporary music with Broadway, and reached audiences who’d never felt welcome in that space. In the sanitized world of theater, Hamilton was a bombshell, offering a fresh take that made young performers feel seen. It wasn’t perfect, but it was monumental.

The critiques I keep seeing—from both former fans and the politically progressive crowd—paint Hamilton as a whitewashed version of America’s founding, a sanitized theme-park history. But here’s the thing: Hamilton was never supposed to be a gritty historical documentary. It’s a musical about Alexander Hamilton’s ambition, his missteps, and his place in the American story—a story that is flawed, contradictory, and unfinished. Hamilton doesn’t hold up a perfect picture of America; it holds up a mirror to its messiness. And dismissing it for not being an all-encompassing critique of early America is missing the point.

Take Aaron Burr, Hamilton’s cautious, centrist foil. The musical presents Burr as someone who opts for safety over risk, and ultimately, inaction over bold moves. Burr’s passivity and Hamilton’s relentless drive serve as metaphors for the choices America has made: to act or to sit back, to strive for legacy or avoid the cost. Together, they reflect the push and pull of American ambition and apathy, neither of which are “good” or “bad.” They just are, and that’s complex. Erasing this because it’s not “woke” enough ignores the nuance Hamilton brings.

Another point these revisionist critics cling to is that Hamilton sanitizes its lead, making him into a hero. And yes, the real-life Hamilton was self-interested, married into a slave-owning family, and was often ruthless. But the musical doesn’t ignore this. It shows him as dogmatic, driven by his own ambition, and flawed beyond repair. He is, in many ways, a textbook example of the contradictions in America itself: deeply flawed, trying to belong, and ultimately, paying the price for his ego. This isn’t glorification; it’s tragedy.

Then there’s the critique that Hamilton is just “Obama-era liberalism” packaged with catchy tunes—a symbol of the old days of hope and “yes we can” that’s cringe-worthy in today’s climate. Fine. Hamilton does reflect that era of hope in America, where progress seemed possible. But slapping that label on it and moving on misses why it resonated then and why it endures. Hamilton cracked open the gates for diverse representation on Broadway, sparking conversations and productions that are still unfolding. Sure, it’s not as radical as we might want now, but that doesn’t erase its impact.

Let’s not forget that Hamilton was a product of its time and place—and one that challenged Broadway norms. Calling it “whitewashing” ignores the fact that it was a groundbreaking show for many Black and brown artists and fans. It was never intended to be the ultimate word on representation, and that’s something Lin-Manuel Miranda and the cast have made clear. The show was about opening doors, not being the final answer.

Yes, Hamilton deserves critique. It’s not above analysis or even condemnation. But this revisionist guilt trip, where we erase its impact or reframe it to absolve ourselves of loving it, is shallow. Critique Hamilton all you want—but let’s not pretend it wasn’t a moment, or that its flaws erase the doors it opened and the conversations it started. History, just like art, is complicated, and this need to revise or sanitize what we once embraced doesn’t make us more progressive; it just makes us short-sighted.

Here’s the thing: We can’t just rewrite our own histories because it’s uncomfortable to confront who we once were. Hamilton isn’t perfect, and neither is America, but both invite us to grapple with contradictions and reckon with legacy. Loving something flawed doesn't make us naïve—it makes us human. Instead of erasing the impact Hamilton had, maybe we need to remember what it meant, even in its messiness.

Because at the end of the day, our cultural milestones, like Hamilton, are pieces of our journey, for better or worse. Revisiting them with fresh eyes is part of growth, but denying their impact? That’s erasing our own stories. We can move forward without tearing down the things that got us here. After all, the story of America—of progress, failure, and trying again—is still being written. And like Hamilton himself, maybe the question isn’t whether it’s perfect but whether it’s brave enough to take its shot.

[halosidequests]

i so badly want to fixate on SOMETHING--like everyone is loyally part to SOME fandom where they can geek and do art and whatever, but i can't just hone in on anything. not books, movies, series, games, ect. i wanna yap to people about stuff but the only things im remotely close to fixated on are my own stories that no one know about :D

[shallanspren]

If the world was just, Bandstand would still be running on Broadway btw. If you even care.

[redhairclara]

Violet Heming, 1921

[tuck-everlasting-shitposts]

[spoiler1001]

does "&Juliet" acknowledge that even without her dying that's still 5 corpses due to her family issues and feuds?

[properties-experts-gurgaon]

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[sondheim-girly]

something about how it hurts to see Broadway shows close, but at the same time that’s part of the beauty of Broadway. It’s always changing, never the same. If shows didn’t close then we couldn’t have the new shows open!!! And hopefully the shows that close continue to have lives- on tour or regionally or in schools.

[human837]

I don't know how to feel...

This seems amazing

[broadway-sollux]

thii2 2ong wa2 pretty relatable two do not goiing two liie.

thank2 @broadwayaradia for jumpiing iin wiith me ehehe.

now iif youll all excu2e me-

iive got 2ome falliing two do.

lyriic2 by candyGroove under the cut

In a battle, I was flying Just some moron's best-friend guy KK can be clumsy, and he stumbled Down the stairs, into the sky Now I am falling through the air Wind and regret flow through my hair All I can do right now is stare down at the abyss

Suddenly, there's a ring on my palmhusk, I pick it up It's the Angel of Death, and she says "What's up?" I say, "What is it this time?" And she's like "Well, hello, goodbye, I'll see you in Hell." She can be like that sometimes, she's such a nut So I snicker and say, I'd love to, but Gravity is calling, I've got some falling to do

I'm in a state of shock, but it's something new I guess it all depends on your point of view. It's true

This is boring yes, I'm falling But it's taking quite a while Our destination is impending Might as well go out in style I put my arms out to the skies Whistle a tune and close my eyes Trying to briefly realize perpetual motion

Suddenly, sparking tentacles flash into my mind And with total precision they lasso me It's acceleration that’ll spend my life And I'm in too much pain to be nice So I tell them the truth, that I'd rather fall No offense but at least it's predictable Gotta stop stalling, I've got some falling to do

I'm probably gonna die, but it's something new I guess it all depends on your point of view it's true

[hatchetverse]

What Do You Say from Black Friday isn’t my favorite song in the play but it’s still so good. The arrangement, the harmonies, the comedy, the fun filled exposition?? Its brilliant

[thequeereview]

Theatre Review: Sunset Blvd. (St. James Theatre, Broadway) ★★★★★

In a stark and arresting opening scene we see a man unzip himself from the body bag he is in, climb out and move centre stage to directly address the audience. It is typical of the searing boldness and dark humour of director Jamie Lloyd’s Olivier Award-winning revival production of composer Andrew Lloyd Webber’s Sunset Blvd., with book and lyrics by Don Black and Christopher Hampton based on…