Hi, I'm Stage and Stages Lin Manuel Miranda, and you're listening to The Hamilcast.

Boots and cuts and boots and... Hello everyone welcome back to the howl cast I'm Jillian this is part two of my

chat with sound designer

Jason Crystal. If you haven't listened to episode 220 yet, you'll want to go back

and do that first. There you'll hear all about the bells, whistles, buttons,

sliders, spaceships, and everything else that goes into making Hamilton run, and how the

hell you fit 172 speakers inside the Richard Rogers Theater.

I mean he explains it perfectly, it's just like it's mind-blowing.

All right, anyway, let's get back to it. Here's part two of my conversation

with Jason Crystal.

Can we shift gears to Freestyle of Supreme?

Sure, absolutely.

Freestyle was a blast and one of the most fun things I've ever done in a theater.

I, relative to how long the team had been making freestyle I was a newcomer.

You know, I did the off-Broadway run, whatever, eight months before the Broadway run,

but they've been working on that show for, I don't know, a decade, long... 15 years, at least, yeah. the to a rehearsal run before the off-Broadway run which was basically in a closet.

It was in a very, very small rehearsal room and they had four mics and the mics were wired and

they were wired to some console in the corner and they did Freestyle

of Supreme and were constantly getting tangled up in all the microphones and then I understood

oh I see I see why we're gonna have wireless microphones when we do this for real.

But it was a funny moment of seeing, of wondering how does this work, right?

Because you see them, if you were to imagine Freislev Supreme without the audience,

...