What do you get when you cross humility, talent, dedication, spirituality, and humanity? You get an actor who can move audiences in performance as Martin Luther King, Jr., Coalhouse Walker, Jr. and George Washington. Darnell Abraham is one such performer, a man of the stage and the world whose bio includes I Dream at Grand Rapids Opera, Ragtime at Barrington Stage Company and Ogunquit Playhouse, and now as the standby for Aaron Burr, George Washington, and King George in the San Francisco cast of Hamilton: An American Musical.
This is my second interview with Abraham, having enthusiastically spoken with him after witnessing his commanding, heartfelt take on Coalhouse at Ogunquit. We recently spoke again about his work in Hamilton, including how he reacted to learning he was going to be in the show, the complexities of playing George Washington, and how being an is akin to being Aaron Burr.
What emotions were you feeling when you found out that you had booked Hamilton?
Elation doesn’t even begin to describe it. My audition process for Hamilton was very intense; I believe I had around 6 callbacks over the span of about 2 weeks. As an actor, the more time you spend in callbacks for a show, the more invested you become and so we do the best we can to protect ourselves by accepting the reality that we may not get the offer. It’s emotionally and psychologically brutal. And so when I got the offer for Hamilton, I remember feeling overjoyed and relieved, to say the least! And when the reality hit that I was going to be doing it in Puerto Rico with Lin-Manuel [Miranda, creator and original star of Hamilton], I remember standing in disbelief because it seemed too good to be true.
What does it mean to you to be doing this seminal piece of musical theater?
It’s a privilege. Hamilton has changed the rules of engagement in musical theater; from casting to choreography, music and style, this show is untraditional in almost every way.
When I stand back and take it all in, the music and choreography reminds me of the neighborhood I grew up in. Rap, RnB, gospel, and pop music were the sounds of my neighborhood. I remember step-dancing (aka stepping) or street dancing with my siblings and the other neighborhood kids. So Hamilton has cultural aspects that I can identify with on a real personal level and it’s a privilege to share (and celebrate) that with audiences at large.
What was it like being with the show for its groundbreaking run in Puerto Rico?
It was awesome! What an incredible way to be a part of something that made a marked difference in people’s lives and the love we received from so many locals was quite moving. Lin-Manuel and his father, Luis, are generous men with their time, talents, and resources. So to be a part of their efforts in helping restore the arts and local economy in Puerto Rico was an honor.
How do you reconcile playing George Washington, a man who enslaved black men and woman who was also a great American leader?
Roughly halfway through Act 1, Washington bestows Hamilton with these words, “You have no control who lives, who dies, who tells your story.” George Washington and many of the American Founding Fathers were slave owners; however there is a moment at the end of the show when George Washington bows his head in response to Eliza’s line, “I speak out against slavery.” It’s a subtle gesture but I believe it to be a profound one because Washington (within the narrative of this show) acknowledges that he was on the wrong side of history when it came to the issue of slavery.
Since 2015, artists of color – the descendants of slaves and immigrants – have been telling the story of our nation’s humble beginnings 8 shows a week on 6 stages across the U.S. and London. Therefore, as a free black man fully entrusted with the authority to portray the role of George Washington, I’d say this is an uncommon form of justice.
Aaron Burr, as written in Hamilton, is all subverted motivation (aka “Wait For It”). Can you talk about portraying a man who is so internal (in contrast to Alexander, who is all action without thought)?
As an actor, especially in NYC, you learn that if you wait for anything you might “throw away your shot” (pun intended, haha). Quite frankly and for example, I think most of us are constantly negotiating when to be fearless and when to exercise caution because we’re afraid of the unknown in this volatile industry. If we book a gig and it’s a success, great. If the gig flops, it has an adverse effect on our livelihood or may even damage our career reputation. The stakes are always seemingly high. Some of us are internal because we’re also calculating the risks in an industry where “decisions are happening over dinner.” That’s the crux, or the Burr of it all. It’s not exclusive to the actor’s life, it’s something most people in the world live with. And so portraying Burr allows me to exhibit that narrative within a specific yet relatable way.
You have performed in recent years in shows (Ragtime, The Color Purple, I Dream) with powerful messages. As a spiritual person, does performing in Hamilton feel like a form of service?
With the rise of nationalism, political divide, indifference, and inhumane immigration policies, Hamilton confronts and challenges those who seek to advance these agendas that are an affront to our living Constitution and democracy. A nation that forgets its past is a nation in peril. The question is, what kind of nation do we want to be in the 21st century? One that heals and learns from its mistakes or one that foolishly fuels and resurrects its sins?
If you would like to learn more about Abraham, you can check out his website: http://www.darnellabraham.com/ or you can follow him on Instragram @dabenyc.
Best,
Dr. Drama
All photos provided by Darnell Abraham.