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

Putzik, putzik, putzik.

Hey friends, welcome back to The Hamilkast. I'm Jillian. This is part two of my

conversation with original Hamilton cast members, Sasha Hutchings. If you missed part one,

go back and check out episode number 253. That's where you can hear all about how Sasha went from

Georgia to Oklahoma to New York, how she made her Broadway debut just a few short months after

getting to the greatest city in the world, and how she made sure she'd be involved in Hamilton.

But if you're all caught up, all right, let's do this. Here's part two with Sasha.

I would love to talk to you about your thoughts about representation on Broadway, and

you are. I don't know if you love the word activist or not, you know, we've touched on that before,

but you're using your voice in such a beautiful, important way, and I would just love to

give you a space to do that again. Yeah, hell yeah. Representation, it's huge. You've been hearing

it so, so, so, so much. I think it's critical, and I think it's critical, but I also think we have

to be really, we have to challenge ourselves in all the ways that we think about what it means.

What representation means, and we have to be really expansive in our thinking of where and how it

applies, because I think it can get very quota like that if we do this one thing, then we're okay.

If it looks a certain way, then it's good, and that is not always true. In fact, a lot of times,

it's not, but I will say representation when people talk about it, I, when I was talking about

Memphis, and what happened to me when I saw the show for the first time, and I saw women who looked

like me, and who had bodies like me, doing dance that I had been trained to do. I was a jazz dancer.

I was like, I was heavily trained in ballet. I did tap, but like, I was mainly like, this is,

I don't do, you know, modern dance. I didn't want to really, I love the Lion King, but I was like,

...