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

Butts and cuts and, and poops and... Huts and... Huts and... Hello everyone. Welcome back to the Hamelcast. I'm Jillian. If you're just joining my conversation with the one and only Brandon Victor Dixon, you definitely want to go back and catch up on part one, which is episode 239.

That's where Brandon tells me his Hamilton origin story, we get deep into Burr, he explains what Jesus Christ

superstar and Hamilton have in common.

He takes us behind the scenes of Rent Live, it's awesome.

But if you're all caught up, I'll leave you to it.

Here's part two with BVD. So can you maybe talk to me? I really want to talk to you about Walk Run Fly productions.

Mm-hmm. Because we hit on that a little with your headwig, Tony.

And so that's all part of that. So I would love you to tell tell the people what that is and

and what yeah everything about it oh well so walk run flies my production

company and we started I started it with my my partner director, choreographer, and writer Warren Adams.

Warren was the choreographer Motown the musical and you know we became we became

close friends through a mutual friend of ours, Cretia Marcano, who was the original squeak in the color purple.

But you know both Cretia and Warren come from modern dance world.

So, you know, Warren's from South Africa, you know, he grew up in a park. from modern

dans world so you know Warren's from South Africa you know he grew up in apartheid South Africa we came

back a ballet dancer and then trained in London and came over here and we met

through Cretia and when I was doing Motown with Barry Gordy and Charles Randolph

Wright, you know and Kevin McCollum as we were like developing the show, kept telling them it was like and then they're looking for a choreographer I was like you need to hire Warren Epps and they're like who is Warren Epps because he had only done like modern dance choreography and things at that point but I just I knew I knew what Warren was capable of and I knew how valuable he would be to the show and you know eventually through the ups and downs of building the show they hired him along with Patty Wilcox to

choreograph the show and really for me I was very much involved in the

creative conversations of building the show Motown but I recognize that as we move further into the process and into production, I wouldn't be as involved in those conversations.

It just wouldn't, it wouldn't happen. And so I wanted somebody who would be able to be in those conversations who could give me greater

...