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The Hamilcast: A Hamilton Podcast

#271: Paul Tazewell // Hamilton's Costume Designer // Part Two

The Hamilcast: A Hamilton Podcast

Gillian Pensavalle

Newyorkpodcasts, Newyorkpodcasters, Hamilton, Theatre, Hamiltonpodcast, Musicals, Daveeddiggs, Foundingfathers, Leslieodomjr, Hamiltonchernow, Broadwaypodcast, Chernow, Alexanderhamiltonchernow, Arts, Podcasting, History, Podcasts, Femalepodcasters, Ham4ham, Gillianpensavalle, Linmanuelmiranda, Americanhistory, Alexanderhamilton, Broadway, Musicalpodcasts, Performing Arts, Theater, Hamiltonthemusical, Hiphop

4.51.9K Ratings

🗓️ 14 June 2021

⏱️ 48 minutes

🧾️ Download transcript

Summary

In part two Hamilton costume designer Paul Tazewell delves into the process of finding the now iconic looks for the principal roles, takes us behind-the-scenes of opening Hamilton Australia, the differences in style from The Public to Broadway, and what details to keep an eye out for when watching Hamilton on Disney+.

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Transcript

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0:00.0

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

0:05.1

What's the cutscene?

0:18.7

Hello, everyone. I'm Jillian. Welcome back to The Hamilkast. This week picks up where we left

0:22.7

off with Hamilton's costume designer Paul Tazzwell. In his first episode, Paul tells me how he went

0:27.2

from growing up in Ohio to being one of the greatest costume designers for Broadway,

0:31.0

how the looks for Hamilton evolved, and how the wardrobe for Hamilton has been maintained during

0:34.9

the Broadway shut down. We're right in the middle of going through specific looks in Hamilton,

0:38.5

so make sure to catch up if you haven't already. But if you're all set, let's do this. Here's

0:42.4

part two of my conversation with Paul Tazzwell. Can we talk about Jefferson a little bit because

0:53.1

he said that everything totally changed from the public to Broadway. I would love to go from

0:58.9

Lafayette to Jefferson also, but how did we get this beautiful combination of Jimmy Hendrix and

1:06.9

Prince? How? Because I maintain, really, that what did I miss is the best act to open our

1:14.2

of all time. When he comes out there, and it's just like, it's so fantastic, and it sets the tone

1:24.8

for who we're dealing with. But then you never, it depends on who was playing that role, but it's

1:29.3

kind of like, you see that purple, and you see, though, and you're just like, all right, Jeff,

1:34.0

I got your number here. But I would love to hear the evolution of how it went from those brown

1:39.6

earth tones from the public, and then how that compares to his Lafayette, if it does.

1:44.4

It was really a conversation with Tommy, and Tommy is saying, I really want to embrace

1:49.5

who David Diggs is, what he brings to the character. As a designer, really for any designer,

1:59.5

you don't really know what it's, unless I had worked with David Diggs before, and the first time

2:06.7

I met him was with the production at the public theater. But then you have an opportunity to

2:13.8

really observe what it is that he does, and what he brings to that character, and how David

...

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