Hamilton 2.0: We Tell Their Story

You’re reading part 4 of our 4-part series on adapting Lin-Manuel Miranda’s “Hamilton” for television. Read part 1 here! Finally, with format (part 1), cast (part 2), and production (part 3) figured out, it’s time to figure out how our own Hamilton: the Musical Miniseries will be structured. To sufficiently cover the characters over both the revolutionary and congressional eras of the play, we feel the appropriate duration to aim for will be roughly 7 episodes, varying from 45min-70min in length. The big goal to aim for is that each episode begins and ends with one of the bigger musical

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Hamilton 2.0: The Style, the Look, and the Feels

You’re reading part 3 of our 4-part series on adapting Lin-Manuel Miranda’s “Hamilton” for television. Read part 1 here! Continuing our adaptation of Hamilton as a miniseries, we can finally turn our attention to production – How do we want our show to look and feel? The inspiration for our wacky vision draws heavily from both HBO’s John Adams with the stylized spectacle of CGI-filed scenery of The Greatest Showman. In the pro-shot performance of the Hamilton stage production, the set design makes brilliant use of a rotating “Lazy Susan” floor to depict characters on the move, transitions to locations,

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Hamilton 2.0: Balancing Diversity, Accuracy, and Style

You’re reading part 2 of our 4-part series on adapting Lin-Manuel Miranda’s “Hamilton” for television. Read part 1 here! Continuing our discussion on how to film our version of Hamilton, this article will focus on our approach to casting. As a history buff, I would normally want a film adaptation to visually represent a time period and setting as much as possible. This no doubt leads to a big question that concerns me, do I want our characters to actually look like their historical counterparts or should they reflect the theme of the play? Part of Hamilton‘s genius on stage

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