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

Bootsing, cuts and buzzing.

Hello friends, welcome back to The Hamilkast. I'm Jillian. This week, I'm back with Phil Colgan

for Part 2. So if you're joining us mid-conversation and you missed Part 1, pause here and go back

and check out Episode 312. Phil talks all about what it's like to be a universal swing,

flying all over the place to jump into whatever Hamilton company needs him.

How growing up in New York City helped lead him to a life in theater, his wild Hamilton audition

process, and some really cool breakdowns of the intricacies happening on stage in any given

number. But if you're all caught up, I'll leave you to it. Here's Part 2 of my conversation with Phil.

So you're in the Phil company for what, two years, you said, as the swing and dance captain?

Yep, it's a two years left January 2020, came back to New York. Things got weird.

I don't know if you know. Yeah, time makes notes. It could really honestly, it could be like,

it's all it was all a dream. And it's like, you have that same dream that I had,

like, you know, people's real, like, nothing. It's all to me like, I would love. Maybe I'm still on

the fill up tour, and I'm still sleeping. Yeah, we're in Vegas with Nick Walker, who knows?

100%. We're gonna wake up, it'll be like the hangover. We're gonna wake up in a gigantic

sweep being like, did you guys have a, I had this crazy dream that everything like shut down for a

while? We were wearing a mask. We were wearing a mask. Is that what that was? Yeah, because it was

all weird and it was something went up my nose all by the time. It's like, I don't know, like,

100%. Oh, God, we're at that point, aren't we? We are. Okay, so then January 2020. Yeah, walk me

through what happens. Yeah, so I left to start pursuing choreography stuff a little bit more.

I was planning on staying for another couple months. I wanted to get to like the two and a half

...