|AP on Broadway Podcast
||[Jul. 6th, 2008|09:44 am]
In The Heights on Broadway
Hey guys. So as you can tell by my excessive posting here, I try to get my hands on anything involving this musical and/or Lin-Manuel Miranda. So I found an AP on Broadway podcast with Laura Benanti, whom I am a huuuuuuge fan of, and Lin-Manuel Miranda after the Tony's. Individually, not together. But Lin had some very interesting things to say, especially about his future plans. So because I'm such a dork like this, I'm going to basically transcribe it for you.
JANE WALDMAN: The Tony Award for Best Musical this year was given to "In The Heights," created by Lin-Manuel Miranda, who is also honored by the Tony voters for his show's original score. Miranda talks about his Tony win.
LIN-MANUEL MIRANDA: It is like the best prom ever, dude. It is! It's unreal. It's, I-I-I can't tell you how, um, crazy it is to have [Tony-Award winning Spring Awakening composer] Duncan Sheik say your name, first of all, in any context, much less at the Tony Awards, and, um, and it's just unreal. I mean, when I think of, um, you know, I-I wasn't, when I-when I did the first draft of this my sophomore year in college, there was another guy I wanted to direct it, he was a senior, um, and, uh, I really wanted him to do it, but he couldn't do it 'cause he was doing his thesis, and, uh, he was like, "We can do it next semester." And I couldn't wait. I was like, "No, I have to put this up now." I've never, um... felt so close to possession as writing that first draft of "In The Heights" over winter break, uh, and I was like, "No, I have to put it up now, I'll direct it myself, I don't know what I'm doing, but I'll direct it myself" and I put it up, I wasn't in it, uh, at the time, I wasn't that crazy yet. And, um, and I just had to-to write it, um, and, uh, and it has changed a lot over the years. Uh, and it's... We're only up- I'm only up here because [director] Tommy Kail, um, created deadline after deadline for me, I am a relentless procrastinator. And Tommy Kail, even when we had no producers, when we were working in the basement of the Drama Bookshop, he said, "Well, let's meet next Friday, bring something in for next Friday." And we did that for about eight years, and here we are.
JANE WALDMAN: Miranda was asked what he's working on next.
LIN-MANUEL MIRANDA: There's a couple of things I want to adapt into musicals. Um, but, y'know, now I know how long it takes, so it's a little like, um, I want the pre-nup, I wanna know [laughs] y'know, it's a, it's a long process. I would... Uh, if you had told me, uh, it would take eight years when I started, uh, I probably would have been too scared to continue. Um, but I-I have several more musicals inside me, um, and, uh, I wanna write 'em. Um, I'm talking to Dreamworks about writing some music for them, uh, for some animated films, um, and, uh, and that's all I know!
JANE WALDMAN: Miranda's musical has been praised for it's Latin and hip-hop score, as well as it's ethnic flavor. But he refuses to comment on the show's cultural significance.
LIN-MANUEL MIRANDA: That's not my job. My job is to write the best possible musical I can and tell the story as well as I know how. Um, and, uh, on the side, I would like to reintroduce popular music, and uh, and theater music, which used to be friends, a long time ago, and I'd like them to be friends again. Um, but other than that, my job is just to tell the story, um, the way I know how, I've cut more than sixty songs from "In The Heights" in the process of getting this to the Broadway stage, um, and uh, it's other people's job to talk about our cultural relevance, I don't know any of that, I just know I wanna get started on the next one.