One key scene helped cement ‘Hamilton’ as a Broadway legend. The team that crafted it explains how. (WaPo):
[…] When it was suggested that the interview focus on one galvanizing interlude of “Hamilton,” and how each played their part in making it happen, the reaction was immediate and electric. It was an opportunity for them to reflect on the profound psychic-income aspect of their group achievement and the ineffable bond that feeds artistic success.
“This speaks to a sense of trust that I think is evident, as you watch all of us kind of lean forward in our seats, getting a chance to talk about this one particular thing,” Kail, 40, says. “The difference between a show that might have an opportunity to be its full expression — when ideas are allowed to flow and be identified — and when they’re squelched, because it’s not your job or you shouldn’t be saying this or you don’t feel the comfort of being able to say it.”
“I’ve worked on other shows where you propose a change because the moment isn’t working, and all of a sudden, you feel the grins tightening, you just see the arms lock. With this group, that has never happened,” adds Lacamoire, 43. “There’s always been a thing about, ‘You know, this isn’t quite landing,’ and then we all think about, how can we make it better?”
The vignette-filled “Satisfied,” which comes smack-dab in the middle of Act 1, proves to be a wonderful springboard for discussion, because it embodies so many of the musical’s irresistible attributes: its restless, energetic resourcefulness; its ability to paint a historical mural and apply a modern varnish of commentary at the same time; its perspective shifts, its wit, its rigor. It’s no wonder the song drew on and conjured for Miranda and company all manner of cultural references, including “West Side Story,” “A Chorus Line,” “The Matrix” and “Ratatouille.”
It’s a song that was the breakthrough indicator of how much story their deeply researched musical, based largely on Ron Chernow’s best-selling biography, could pack into a conventional two-act structure. Because before “Satisfied,” Angelica Schuyler did not exist in the show. “The question of whether Eliza’s sister would be a character was up for debate,” Miranda recalls. “I mean, she is a confidante of her sister, she had these letters with Hamilton, and it’s, ‘Do I have time to get into that?’ ”
Devising “Satisfied” for Angelica, a role originated in 2015 at off-Broadway’s Public Theater and on Broadway by Renee Elise Goldsberry, who would win a Tony for it, proved crucial to developing the emotional core of “Hamilton.” It took Miranda about a month to write it, and it sets in motion the show’s tragic element, how passion unfulfilled — in this case, Angelica’s for Alexander — eventually tears apart Hamilton and those around him. The song, which includes ingeniously rhymed rap to dramatize the dizzying sophistication of Angelica’s own intellect, begins as Angelica’s toast to the marriage of Hamilton to her sister, Eliza; Angelica has introduced her to Hamilton during the previous song, Eliza’s “Helpless.”
“I liked the idea of a wedding toast,” Miranda says. “I’ve been to enough wedding toasts where the wrong things tumble out.”
“To your union,” Angelica sings in the five-minute-plus number’s opening segment, “And the hope that you provide/May you always/Be satisfied.” What then follows is what the song identifies as a “rewind”: going back to the events of “Helpless,” but told now from Angelica’s anguished perspective, in a way that crystallizes a pivotal facet of her character. “I remember that night, I might regret that night for the rest of my days,” she sings, in the song’s defining line.
In returning to that moment, Kail says, “we realized that there was an opportunity for Lin to play with the timeline, and the way that we moved through time.” That concept would repeat itself at another climactic moment of “Hamilton,” in the freeze-frame rendering of the bullet that fatally strikes Hamilton in his duel with Aaron Burr. It was not an original idea, actually: The creative team was borrowing a cinematic technique, one of many they use in the show.
Kail says: “This is something I talk to the actors playing Angelica a lot — about ‘Ratatouille’ ” — the 2007 animated movie about the rat that becomes a Parisian chef.
“Totally ‘Ratatouille’ ” Blankenbuehler interjects. “We use it as a verb and an adjective.”
Kail explains that the freezing of time in “Hamilton” has its parallel in the moment in the film when the food critic, voiced by the late Peter O’Toole, has an epiphany as he savors a piece of food.
“When the critic takes the bite, and you go into the critic’s eye, that’s what we’re doing,” the director says. In other words, the instant in which the cartoon critic samples the food stops time; viewers are given a protracted, imagistic impression of what is happening in the critic’s mind. That same stopping of time occurs in “Satisfied.”
“I love that, sonically, it takes someplace we haven’t been to before,” adds Lacamoire, the music director and orchestrator. For Blankenbuehler, the choreographer, “Satisfied” was a feast of new possibility, too: “I think the first time I heard the song was at a reading,” he says. “And I just remember the right hand on the piano, and the tinkles, and I instantly saw women suspended, like on top of a cake, like on pointe, like how things rotate on a wedding cake.”
But perhaps the most complicated choreographic element of “Satisfied” is what happens in the interlude in which prerecorded voices take us into the “rewind” portion of the song. Because the dancing ensemble, assembled for the wedding, physically rewinds, too, to the movement of “Helpless.”
“All of ‘Helpless’ goes counterclockwise,” Blankenbuehler explains. “So when you rewind in ‘Satisfied,’ and for just a moment you go clockwise, you understand it. When they dance in ‘Helpless’ and ‘Satisfied,’ the same dance movement matches both lyrics.”
It feels as though these guys could talk about this one song all day. But they all have other places to be. So maybe Miranda captures the essence of collaboration best as he listens to his longtime colleagues talk about their approaches to “Satisfied,” and then says with a laugh:
“These are all the things I do not see when I write a song!”
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