#360: Trevor Dion Nicholas // London's George Washington // Part Two
The Hamilcast: A Hamilton Podcast
Gillian Pensavalle
4.5 • 1.9K Ratings
🗓️ 27 March 2023
⏱️ 61 minutes
🧾️ Download transcript
Summary
In the second half of my conversation with Trevor Dion Nicholas (London’s George Washington), we dive into the rest of his Hamilton story including standing firm in his desire to audition for GWash and only GWash. Plus, we talk politics and how and when to separate the art from the artist. Or, you know, separate the genius writings from the terrible person. Looking at you, Thomas Jefferson! We do take a short detour to share our love for artists like incubus, foo fighters, and Ben folds and then we wrap up with the Patreon peeps. Yeah, we cover a lot of ground!
Transcript
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| 0:00.0 | Hi, I'm Stage and Stage's Lynn Menwell Miranda and you're listening to The Hamlet Cast. |
| 0:18.7 | Hello friends, welcome back to The Hamlet Cast. I'm Jillian and you're listening to my second |
| 0:22.4 | episode with Trevor Dionnickalus, who's currently playing George Washington in the West End. |
| 0:26.4 | Last week, Trevor walked me through how his career led him from West Virginia to the UK, |
| 0:30.6 | his experience working with James Monroe Eagle Heart while covering Genie on Broadway, |
| 0:34.4 | and then originating the role of London, and the very beginning of his Hamilton story. |
| 0:38.3 | This episode picks up with a conversation about how different moments in the show change |
| 0:42.0 | from night to night, and Trevor is about to explain some of his favorites. Enjoy! |
| 0:50.5 | Yeah, and that's, you know, I was thinking about almost exactly that when we were just talking |
| 0:55.4 | about how great it is that you can see a different show every time, but depending on who the |
| 1:01.6 | Hamilton is, who the Washington is, who Angelica, like I think that's so beautiful, and I think |
| 1:06.6 | everyone now, it's been so many years that people are coming around, but at the beginning, |
| 1:10.4 | it wasn't like that. There was a lot of fear and a lot of ownership over the show that people |
| 1:14.6 | thought that they were owed certain things, whether it be stage door or, you know, not a swing |
| 1:21.8 | playing a role that they had heard in their head for so long, and I get that, but I love, |
| 1:26.8 | I mean, I don't get it that much, but I- Same, I don't get it, but I understand, but I don't get it, |
| 1:31.8 | what? Or agree, like, you know, but at the same time, it's like a lot of them were kids, |
| 1:37.5 | or people who didn't really know Broadway, like it opened people up to different kinds of music, |
| 1:44.0 | and actually wanting to go see a show, and they didn't really get, you know, they didn't know |
| 1:48.8 | that that's how it is, like sometimes you're not going to see Lin, and that's great because you |
| 1:52.4 | get to see Havi. Like that, you know, things like that, but moments like, there are so many moments in |
| 1:57.6 | the show that I look forward to, because I want to see how someone's going to interpret them. |
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