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

Pootsie, cut-sum, pootsie.

Hi friends, I'm Jillian and welcome back to The Hamilkast.

This week, the great Obyama Ugoa and I are wrapping up our conversation about life on the West End

as the original George Washington. And actually a hell of a lot more than that.

If you missed our first new episodes of 2023, I strongly urge you check them out.

Not only so you'll be able to follow what we're talking about, which yeah, you should do,

but because this conversation is essential. I mean, we're talking about race and

classism and politics and theater and yeah, it's just really, it's just a really, really good

conversation. Don't be scared of it. It's important to have. So hopefully you're all caught up

because here we are, here is part three of my conversation with Oby.

I was going to ask you actually earlier when we were talking about kind of battle three

and all of that, you know, that it was released on the mixtape and it wasn't like, you know,

hidden away or anything. Do you know about the changes in the choreography and what did I miss?

No. Oh yeah. So after our, you know, Black Lives Matter movement took off,

we're going to exploit and after the hiatus that the, the forced hiatus due to the pandemic.

Sure. There were many voices, Black voices, voices of color in the company that said,

it doesn't really feel great. That Sally Hemings is like this little

sexy high kick. That doesn't feel nice and I, you know, it's really uncomfortable

as a black dancer in the show to be, you know, because they're slaves. Like they're playing

stuff. The dancers are playing slaves in that moment and it sort of played at first as kind of

sexy and sort of like how funny is Jefferson and oh my god. And so now if you see the show

...