I Wanna Baptize You

And other Valentine’s Day sentiments from Broadway songbooks

Broadway boasts a canon of funny romantic songs, some thinly veiled innuendos (see title of this blog, a lyric from “Baptize Me” in The Book of Mormon) and others outrageously explicit (“You Can Be as Loud as the Hell You Want” from Avenue Q).

Here are just a few of our fave irreverent, hilarious or otherwise atypical little ditties from Broadway about love and romance in honor of Valentine’s Day this Thursday.

We Choo-Choo-Choose You.
Love,
The Straz

“The Song That Goes Like This” – Spamalot
Hahahaha … we can hardly type about this song without chuckling. This spot-on parody of the formulaic Big Love Song Number in boy-meets-girl musicals is an embarrassingly explanatory duet about said Big Love Song Number. “Once in every show/There comes a song like this … A sentimental song/ … We’ll over-act like hell/This is the song that goes like this.” Spamalot is Monty Python’s musical adaptation of Monty Python and the Holy Grail, so it’s comedy gold from the kings of parody.

“Changing My Major” – Fun Home
For everyone who caught this Tony-winning family drama at The Straz last season, you may remember this guffaw-inducing show-stopper from a sexually-revolutionized college-age protagonist. After meeting and falling for Joan, Alison allows their relationship to go to the next level. The following morning, she’s dizzy with the awakening of her womanhood. She does the only natural thing in a musical, which is to burst into song about her new love. “Oh my god, oh my god, oh my god, oh my god, last night!/I got so excited/I was too enthusiastic/Thank you for not laughing/Well, you laughed a little bit …” Alison makes the most important proclamation of any college freshman: she’s changing her major. To Joan. With a minor in kissing Joan.

“I Really Like Him” – Man of La Mancha
In our humble opinion, the most endearing aspect of this Don Quixote adaptation is the loyal, lovable sidekick Sancho Panza. And, as sidekick songs go, this number captures the inexplicable commitment of someone who hitched his wagon to a starry-eyed fool. Some Broadway buffs argue that Sancho is romantically in love with Quixote and this song reflects that devotion; others argue that “I Really Like Him” is about accepting the simple fact of unconditional love—it is what it is. No matter the interpretation, we all agree that “I Really Like Him” is sweet and absurd, very much like the Man of La Mancha himself. “Why do you follow him?” Aldonza asks Sancho. “Because,” he sings in replay, “I really like him/I don’t have a very good reason/Since I’ve been with him, cuckoo-nuts have been in season/…You can barbecue my nose, make a giblet of my toes/…Still I yell to the sky though I can’t tell you why/I like him.” If that’s love, it seems totally legit.

“Model Behavior” – Women on the Edge of a Nervous Breakdown
Originally performed on Broadway by Tony-winner Laura Benanti (who was also here in a solo cabaret show last season, ICYMI), this Spanish-flamenco-salsa-inspired allegro features Candela (Benanti) leaving a series of increasingly panicked messages for her friend Pepa. The new boyfriend Candela picked up at a club and moved into her apartment may not be the squeaky-clean Romeo she wanted him to be. “But this one really is a mess. I think I’m gonna freak.” The song escalates as Candela’s frustration with Pepa never picking up the phone transfers to a memory of their friendship: “I know you say I’m an alarmist, but I’m not/Remember there’s that time I thought I saw a spider/But you said “nah, it’s a raisin,’ but it suddenly started moving and it crawled over and bit me on my toe/So if you’re gonna stand and judge me that’s how much you know/It’s a good thing I didn’t eat it.” The song is hysterically funny, revealing Candela’s mild paranoia about picking the wrong kinds of men and her need for her best friend, an underlying love story buried in the comedy of her predicament.

Living to Write their Stories

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By now, Hamilton’s meteoric rise from Broadway musical to cultural phenomenon fills many-a-page from magazine articles to blog posts to Instagram accounts. Its singular effect was solidified last year as the Kennedy Center decided to award the musical an unheard-of special Honors for being such a groundbreaking work of art.

What remains unfathomable – even more unfathomable than the runaway success of a based-on-a-true-story hip-hop musical set during American Colonialism – is that Hamilton achieved unprecedented fame and glory with so many fans who have never, to this day, actually seen the show.

What we have seen, or who we have seen, rather, has been much more of a public spectacle. In other words, though most of us will never claim to have seen them in Hamilton, the actors themselves launched from the Hamilton springboard into television, movies and other musicals, allowing us HamFans to cozy up with Netflix and say, “That’s King George!” or “Look, there’s Eliza Schuyler Hamilton!” Of course, we never say, “wow, that’s Alexander Hamilton!” since everybody knows and loves the LMM. Here, we look at what Lin-Manuel Miranda and other Hamilton cast members got up to after the big gig.

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Lin-Manuel Miranda
When he’s not busy saving the world, appearing everywhere all the time in his ubiquitous AmEx commercial and making hilarious appearances on Drunk History and talk shows around America, Lin-Manuel Miranda can be found starring in blockbuster Hollywood films (Mary Poppins Returns) or making headlines by reprising his lead role during a run of Hamilton in Puerto Rico. Wherever the winds of awesomeness blow LMM, he remains poised to change our lives forever with either an amazing freestyle rap or some random viral video leaves us breathless, basking in the glow of his infinite talent.

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Photo from Instagram: @moulinrougebdway

Karen Olivo
Raised in Bartow, Fla., Karen Olivo fell in with the LMM crowd during his first Broadway show In the Heights, when she played Vanessa. Olivo, who happened to spend quite some time at The Straz as a Florida State Thespian, won a Tony® as Anita in West Side Story, then entered the Hamilton scene as Angelica Schuyler in the Chicago run of the show. Her newest role is as Satine in the highly-anticipated, Broadway-bound musical version of Baz Luhrmann’s Moulin Rouge!

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Leslie Odom, Jr.
Perhaps you were one of the lucky ones who caught the original Aaron Burr, sir, at The Straz in his solo cabaret show? Leslie Odom, Jr. debuted on Broadway in RENT as a teenager, had his breakout role in Hamilton and now has a successful singing career as well as a motivational book, Failing Up, to inspire young readers. There’s also the oft-played Nationwide TV ad (“Nationwide is on your side”). If you watched Person of Interest or Law and Order: SVU, you saw Odom, Jr. in his pre-Hamilton years. He also had roles on Gilmore Girls, Grey’s Anatomy and The Good Wife as a well as starred alongside Michelle Pfeiffer and Judi Dench in the recent remake of Murder on the Orient Express. Heads-up—Odom, Jr. is slated to start work on an ABC pilot TV show.

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Renee Elise Goldsberry
Some HamFans may have recognized the original Angelica Schuyler as Evangeline Williamson on the soap One Life to Live. Renee Elise Goldsberry, who portrayed both characters, also appeared on 43 episodes of Ally McBeal and now performs as a series regular on the Netflix series Altered Carbon. If you caught the end-of-summer movies, Goldsberry appeared in The House with a Clock in its Walls with Cate Blanchett and Jack Black. Goldsberry netted a Tony® for her role in Hamilton.

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Wayne Brady
Fans of Who’s Line is it Anyway? and Let’s Make a Deal who also happen to love Hamilton got their prayers answered when Wayne Brady joined the show as Aaron Burr in the Chicago run. Brady rocked the red thigh-highs as Lola in Kinky Boots a few seasons ago and debuted on Broadway as slippery lawyer Billy Flynn in Chicago.

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Daveed Diggs
Known for his role on Blackish, Daveed Diggs won a Tony® and Grammy® for his Broadway turn as Marquis DeLafayette/Thomas Jefferson in Hamilton. Last year, Diggs released Blindspotting, a film he wrote, directed and produced. Last week, the supernatural horror Velvet Buzzsaw premiered on Netflix, in which he appeared alongside Jake Gyllenhaal and Toni Collette.

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Jordan Fisher
Disney Channel favorite and Dancing with the Stars winner Jordan Fisher performed with the magical LMM on the Moana soundtrack after completing his Ham stint in the roles of John Laurens/Philip Hamilton on Broadway. Fisher parlayed his DWTS championship into co-hosting Dancing with the Stars, Jr. alongside Frankie Muniz. Broadway fans were treated to Fisher in Fox’s recent production of RENT Live!

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Jose Rosario, Jr.
Our very own Tampa-born Jose Rosario, Jr. starred as Peter Schuyler/James Reynolds for a year and a half in the Chicago run of Hamilton. He also served as stand-by for Alexander Hamilton, performing the role many times. He headlined the Straz Center’s Broadway Ball last October.

Of course, many other great and talented musical theater actors stepped into the golden breeches and corsets of Hamilton roles, and surely more shall continue to do so. The show is a magnet for exceptional talent, and we are thrilled to present it this season.

You Know This Wise Guy

Chazz Palminteri took a moment of his childhood and parlayed it into the cultural phenomenon known as A Bronx Tale. We’ve seen him in The Usual Suspects, Bullets Over Broadway, Analyze This and as a cop, mobster or some form of tough guy in a ton of other film and TV roles. We caught up with Chazz on the phone in December to interview him for the “Behind the Persona” feature of INSIDE magazine and talk about the musical adaptation of A Bronx Tale coming to The Straz Jan. 29. [Note: Chazz isn’t in the musical but he did write the book and DeNiro directed.] During the conversation, we uncovered what he thinks is the greatest acting work he’s ever done—which happens to be a little film that not many people know about. And, shockingly, it’s not A Bronx Tale.

We published the whole interview on Act2, our official podcast, this week, and we’d love for you to hear the wealth of stories Chazz brought to the conversation.

For this blog, though, we’re going rogue. We’re going first person.

Chazz Palminteri in A Bronx Tale on Broadway. (Photo: Joan Marcus)

Hello, Strazzers. Marlowe Moore here, the senior writer for The Straz and normally the anonymous voice of this blog on behalf of our favorite performing arts center. I decided to step out from the fourth wall on this occasion because my conversation with Chazz revealed the kind of tales and insights that performing arts nerds like myself die a thousand deaths to know.

With Chazz, I died two thousand deaths—first, when he shared the anecdote about the time Arthur Miller (Death of Salesman, The Crucible, A View from the Bridge, husband of Marilyn Monroe and my personal writing hero) gave him writing advice; second, when he disclosed that he believes his greatest acting work was his role as the father in Dito Montiel’s shattering and extraordinary film, A Guide to Recognizing Your Saints.

Chazz in A Guide to Recognizing Your Saints.

In 2014, I met Dito Montiel at the Sanibel Island Writers’ Conference, which, by the way, happens to be one of the dopest writing conferences in the country. I went, not because I am dope but because I am frugal. SIWC is also in the sweet spot budget-wise for nonprofit mavens like myself. If you’re a writer, a dope person or frugal, you should check it out.

I had no idea who Dito Montiel was, but screenplay writing happens to be my favorite form, and Dito was slated to talk about how he managed to land A Guide to Recognizing Your Saints in Hollywood. I found a seat in the small classroom, then a shaved-head, thick-shouldered New Yorker ambled through the door, taking a small space on the side of the room. “Hey, everybody. I’m Dito,” he said. “I’m not really sure I’m qualified to give this workshop, but here goes.”

Dito and Dwayne Johnson filming Empire State.

Often gazing at his shoes or shifting his eyes toward the doors and windows, Dito unfolded his life story. A kid in Queens. A bad neighborhood. A best friend. An affront by a rival gang member. A baseball bat.

Dito got out. He wrote. He played music. He kept his head down after his boy got a life sentence and found a way to Los Angeles. But he lived with the ghosts. To make peace with them, he doodled a graphic memoir during a day job in an audio lab. He titled it A Picture Guide of Saints.

“This is really good,” a friend told him. “Hey, did I ever tell you I know Robert Downey, Jr? Bob? I think I could get this to him. This is the kind of weird shit he loves.”

The doodles made it to Bob. Bob made it to Dito. They became friends. In 2001, A Guide to Recognizing Your Saints, Dito’s memoir of his friends in Astoria, gets published. In 2006, RDJ—along with Sting and Trudie Styler—produce the film.

“A lot of it was luck,” Dito told us during the workshop. “Bob and I are weird in the same way. It just worked out. I didn’t even know how to write a screenplay. I thought the ‘EXT’ for exterior shot meant ‘exit’ like the character was leaving the scene. I didn’t know. But I wrote the screenplay. I directed it. Things went from there.”

I realized at the end of the workshop that Dito Montiel is, by nature, a shy guy. I don’t believe he meant for the big take-away for screenwriters to be “hope you know a random person who knows Robert Downey, Jr.” Although, I do believe that’s probably honest writing advice. I think he wanted with his whole heart for his story to be known because he had—in his heart—a debt to pay to a friend he loved. In the weird way stories work, it found its way because Dito wouldn’t give up on it.

If you know anything at all about Chazz Palminteri and how Robert DeNiro ended up making A Bronx Tale into a film, you’ll understand why Chazz fell in love with A Guide to Recognizing Your Saints.

After the conference, I went home and checked out A Guide to Recognizing Your Saints from the public library. I was expecting the typical Mean Streets tropes, but this movie is different.

In the film, Robert Downey plays the adult Montiel with Shia LaBoeuf playing the younger Montiel in Queens during the flashback sequences. Antonio, Montiel’s best friend who ends up with life in prison, is played by Eric Roberts, whose acting in this film is The Pope of Greenwich Village-level. Just stellar. The young Antonio acting opposite LaBoeuf? Channing Tatum. Tatum, whose performance skills I’d just studied intensely in multiple viewings of Magic Mike and knew from his work in the Step Up franchise, changed my life. The fact that he can take himself to the place he had to go to for A Guide to Recognizing Your Saints makes me even angrier about Jupiter Ascending. Nobody better talk junk to me about Channing Tatum’s acting skills. Nobody. We just need Dito directing every time I guess.

Dito’s foil, his antagonist, his god and his oppressor take the form of his emotionally complex father Monty, played by Chazz. “I’ve done 60 movies,” Chazz told me, “and A Guide to Recognizing Your Saints is one of my favorite all-time movies. I think it’s probably my best performance,” Chazz told me.

Hands-down I think it’s Palminteri’s best performance, and I believe his work as Sonny in A Bronx Tale is so sublime his gestures alone should win an Oscar. But what he does as Monty is whatever actors do when they go to that place beyond performing. When Monty enters the scene, my heart races, my blood pressure spikes, I feel so much loss for Dito that I can barely keep my seat.

The film conjures the thing we never talk about when we talk about tough guys, when we glorify their violence in films: that boys get sucked into a world that buries love in anger so thoroughly that, as men, they cannot function for their confusion about how to care for themselves and the people they love. “At the end of the film,” Chazz said, “when my voiceover is talking about, ‘Don’t worry, Dito. Antonio didn’t have anybody [to care for him]…’ Oh. I think about it even now, and I can cry.”

Which is precisely what I did at the moment Chazz refers to here. For reasons I still struggle to articulate, my natural reaction to the conclusion of A Guide to Recognizing Your Saints was to run in the bathroom, shut the door, fall on the floor and bawl. I lived alone at the time, so I had no reason to do any of those things. I could have cried in bed, but I was running from or to something that I needed to experience privately despite the fact that I was already alone; I don’t know. Dito—and Chan, and Bob, and Chazz and Shia—made me look at something so deeply sad about men trying to love in their culture of violence and being oblivious to the fact that they were trying to love at all that stayed with me all this time. There is something about men’s love and the debts they feel towards each other that I don’t understand. Dito’s story cracked some understanding inside of me, and I believe that’s what art is for, why we doodle our ghosts into existence. I consider myself profoundly lucky to have had a few moments to talk about it with someone in the film.

Please see Chazz in A Guide to Recognizing Your Saints. Then check out the interview with him on the podcast. And see A Bronx Tale the musical. Chazz promised you’ll love it.

Thrilling new Jaeb show asks: What would you do if you only had a Hundred Days with the love of your life?

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Let’s say one morning you hustle into your favorite coffee shop, order your regular, and as you’re dawdling by the pick-up counter, you happen to make eye contact with someone at the high-top in the corner who happened to look up the same time you did. An exchange occurs in that moment: you capture each other, an undeniable knowing that you are supposed to be together passes between you. You brave the unknown; you travel the 8,000 miles across the coffee shop to speak. A conversation leads to a date that leads to a long weekend where you wake up Tuesday to discover yourself in love.

You become that skipping, smiling, whistling, happy happy joy joy supernova of a besotted lump experiencing what it feels like to be the most favored in the universe. Nothing could throw a hitch in your skip.

But news arrives you didn’t expect – a diagnosis, a deployment, something that sets your time together against the clock. You found the love of your life, yes. But, you’ll only have one hundred days with that person.

Three and a half months.

How would you choose to live each and every one of those days? So goes the premise of Abigail and Shaun Bengson’s autobiographical punk-folk-indie-rock-electronica blues show, Hundred Days, which runs in the Jaeb Theater Jan. 15 – March 24.

Hundred Days New York Theatre Workshop

The show, which reveals their love-at-first-sight story and the crazy events that followed, does so through a rock concert structure, almost like a reverse musical.

Hundred Days is a concert that tells a story – a very personal, very extraordinary, very funny story about the make-or-break need to become vulnerable if you want to make love stay.

Professional singer-songwriters, the Bengsons wrote all the songs for show, pulling from their favorite theatrical forms to get Hundred Days exactly where they wanted it to be: leaving audiences wishing the show itself lasted at least as long. The show has been a huge hit in New York and San Diego, where it ran before the Bengsons packed up their guitars and drums and headed to Tampa.

Our INSIDE magazine caught up with Abigail and Shaun during their opening weekend at La Jolla Playhouse in San Diego to talk about Hundred Days, family life and their upcoming Florida debut at The Straz.

 

INSIDE MAGAZINE: Tell us a little bit about this show. It’s a departure from the traditional musicals we normally have at The Straz and it’s not a jukebox musical or a concert. What is it?

ABIGAIL AND SHAUN: It’s true that Hundred Days is not your standard musical theater fare. We started out as musicians and moved into the world of writing for theater because of our passion for telling stories and the ability theater has to bring people together for big moments of shared emotional catharsis. So, our music pulls from a wide variety of genres that inspire us, like folk, punk, indie rock, blues and electronica. We also pull from a lot of different theatrical styles when it comes to building the structure and form for the stories we want to tell, including folklore storytelling, documentary, concert and stand-up comedy. Our core collaborators Sarah Gancher, Anne Kauffman and Sonya Tayeh have also been hugely instrumental in creating this new, music-theater hybrid. They helped us push the form and the sound as well as weaving in more traditional theatricality throughout our work. And really, the truth is, even with all of the ways in which we are trying to break the mold, at its core, Hundred Days is a story told through music just like any other piece of musical theater! It’s all in the service of building an emotionally compelling story that we hope will resonate with our audiences.

IM: How “true“ is the “based on a true story” part of Hundred Days?

A&S: It is embarrassingly true! We really did have our first date, then three weeks later, we were hitched. Something about the moment of our falling for each other shattered any illusions of youthful invulnerability we had, made us realize the pain of placing so much of our hearts into such a fragile vessel. Some details and events are changed in the show in order to fit it all into 90 minutes, but any change that we made was designed so that the show would better convey what it felt like to go through that time – the joys and the terrors that we felt. There is a scene in the show that is an actual transcription of a conversation we had. It’s in there in all its glory and its humiliation.

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Photo from Instagram: @hundreddaysny

IM: You all spend a lot of time together. What’s your secret to staying a happy, healthy and productive family?

A&S: Yes, we do spend a whole lot of time together. We’ve actually really worked for many years to be able to build a life in which we could be together as much as we can possibly be. It is truly the blessing and the joy of life that we get to. This is the exact opposite of how we’ve handled pretty much every other relationship in our lives. We’re both huge introverts and usually need a great deal of personal space. But, it’s just not like that with each other. There is certainly a lot that we needed to figure out in terms of combining and balancing family and work and it’s a daily practice to try and get it right. Finding that balance has become even more true since the birth of our son two years ago. We really thought we were already operating at full capacity, but, man, we can’t believe how many plates we have to spin at once trying to keep the art going and raise our boy in a way we feel good about. If there is any secret at all, it’s being as open and honest with each other as we can, trying always to talk things through, really working to try and hear and support each other. That can be easier said than done, but it really does come down to that for us.

IM: Share some of your musical influences and mentors … how do you create the Bengson “sound“ in this show?

A&S: We grew up listening to all sorts of music and we hope that it comes through when you listen to our tunes. We’ve been writing this show for more than a decade, and you can hear a lot of the different styles of music that we’ve been writing and listening to from over that time. The core of our music is really all about folk, both American folk music as well as from places all over. We grew up listening to a lot of ‘60’s folkies like Joni Mitchell, Paul Simon, Odetta and Ewan MacColl. There’s a lot of music being made right now that inspires us a lot too that draws on that folk tradition – Sufjan Stevens, Joanna Newsom, Sharon Van Etten. We also really love it when that folk sound meets punk music (The Pogues, Gogol Bordello, Flogging Molly). We are also huge fans of big vocalists and singers from Motown, soul, and Latin music like Etta James, Aretha Franklin and Caetano Veloso. The newest elements that we have loved playing with is using big heavy electronic beats and playing with interesting electronic sounds and textures like The Flaming Lips, Björk, Kanye, James Blake. Everyone onstage in Hundred Days plays an instrument and sings, so this blend of acoustic and electronic elements with a big choral sound is what this show is about for us.

IM: Hundred Days is the kind of show that really touches the heart. Do you often have audience members sharing stories with you? Would you mind sharing one or two touching moments you’ve had with fans?

A&S: We have heard a lot of sweet stories from people! Our favorite thing is getting to hear stories from both the brand-new young couples in the house as well as from couples who have been together 50-60 years. There was one older couple in their 80s who were sitting beside our associate director, Caitlin Sullivan, and she couldn’t honestly tell what they were thinking about the show. But, as they were leaving, she heard the woman say, “That is exactly what it felt like to be young and in love. That is just what I remember.” That really meant a lot to us.

IM: What do you hope audiences will get out of this show?

A&S: In many ways, these are frightening and confusing times we are living through. We find that it’s easy to get beaten down, to numb yourself out, to give up. This show is about the power of fear and the ease with which it can prevent us from living. This show is our way of continuing to challenge ourselves to love and to live and to not give in even when the stakes feel insurmountable. And also – we hope everyone will enjoy the awesome music and hilarious jokes.

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In the studio recording the cast album. Photo from Instagram: @hundreddaysny.

A Note to Fans from Abigail and Shaun:
If anyone is curious to hear the music before the show, we just released the official cast album. You can find it on iTunes, Spotify, wherever you go for your music. We worked hard on it, and we are proud to get it out there and share it with folks. We are so honored to get to be coming to Tampa, to be welcomed into this theater and this community. We are looking forward to meeting all of you!

Frequently Asked Questions about HAMILTON on-sale Nov. 16

Here we go, Strazzers. The public on-sale for HAMILTON starts Friday morning at 9 a.m. This handy FAQ guide tells you what to do to get ready and what to expect the day-of. Whether you’re planning to buy online, in-person or on the phone, this official information will help you be as prepared as possible for your shot at seats.

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Company – HAMILTON National Tour – (c) Joan Marcus 2018


FREQUENTLY ASKED QUESTIONS

Because of the nature of live events, details are subject to change.

WHEN IS HAMILTON COMING TO THE STRAZ CENTER?
Feb.12 – March 10, 2019

WHEN DO TICKETS GO ON SALE?
Friday, Nov. 16, 2018, at 9 a.m. Tickets will be available through the Straz Center’s official Ticket Sales Office – online, by phone and in-person. Only tickets purchased directly from the Straz Center at STRAZCENTER.ORG, 813.229.7827, 800.955.1045 or in person at the Straz Center Ticket Sales Office are guaranteed to be legitimate tickets for the Tampa engagement of HAMILTON.

WHERE CAN I PURCHASE?
• Online: STRAZCENTER.ORG/Hamilton. You must set up an account through our ticketing system before you purchase online. See “What Should I Do Now To Get Ready To Purchase” below.
• By phone: 813.229.7827, 800.955.1045 (outside Tampa Bay)
• In-person at the Straz Center Ticket Sales Office at 1010 N. MacInnes Place, Tampa, FL 33602; the Ticket Sales Office is located on the south side of the Straz Center campus off of Tyler Street

Online: Log in to purchase HAMILTON tickets by typing STRAZCENTER.ORG/Hamilton into your browser on Nov. 16, 2018 starting at 6 a.m. Everyone will be placed in the Virtual Waiting Room and will be randomly assigned a place in line when sales open at 9 a.m. Those arriving after 9 a.m. will be placed behind those who arrived earlier. You must set up an account through our ticketing system before you purchase online. See “What Should I Do Now To Get Ready To Purchase” below.

Phone: Those choosing to purchase by phone do not have an option for advance queueing. The Ticket Sales Office phone system will be activated at 9 a.m. Please do not call before that time.

In-person: On-site sales will also occur at the Straz Center Ticket Sales Office on Nov. 16, 2018, at 9 a.m. Sales will be conducted using a wristband lottery and random selection of wristband numbers. Wristband distribution will begin at 5:30 a.m. and continue until 7 a.m. under the Grand Canopy in front of Morsani Hall. (No overnight camping allowed.) Arrival prior to the start of wristband distribution is not advised or necessary since the purchase line will be based on random selection. However, you must be in the wristband line by 7 a.m. to get a wristband. Wristbands will only be distributed to those 13 and older. There is no guarantee everyone receiving a wristband between 5:30 – 7:00 a.m. will be able to purchase tickets. Those arriving after 7 a.m. will be placed in queue (and given different sequentially-numbered wristbands) and will not be eligible to make a purchase until everyone who arrived prior to 7:00 a.m. been served, if tickets are still available.

HOW MUCH WILL TICKETS COST?
On-sale prices will range from $86 to $196 with a limited number of $489 premium seats. Handling fees apply. Prices are subject to change.

ARE THERE ANY DISCOUNTS AVAILABLE?
There are no discounts available for HAMILTON.

HOW MANY TICKETS CAN I BUY?
There is a strict limit of four (4) tickets per household. All orders will be checked before tickets are mailed, and orders will be cancelled if we discover duplicate accounts, bots or other means being used to circumvent the four-ticket limit.

WHY AM I ONLY ABLE TO PURCHASE 4 TICKETS?
To allow as many people as possible the opportunity to purchase tickets for HAMILTON, the number of tickets any household may purchase has been limited. Guests found in violation of this policy will have ALL their tickets cancelled.

ARE THERE GROUP SALES AVAILABLE IF I WANT TO PURCHASE MORE THAN THE TICKET LIMIT?
Group sales are not available for HAMILTON.

WILL I BE ABLE TO PICK MY SEATS?
When purchasing online the ticketing system will assign you the best available seat(s) in your preferred performance/price level at the time you purchase. In-person selections will be made the same way. If asked to search an alternative performance for different/better seats, the original selection will be released and could be purchased by another buyer in the interim.

IS THERE AN AMERICAN SIGN LANGUAGE-INTERPRETED PERFORMANCE?
Yes. There are two – the Thursday, Feb. 14, 2019, 7:30 p.m. performance and the Saturday, Feb. 23, 2019, 2 p.m. performance.

WHAT SHOULD I DO NOW TO GET READY TO PURCHASE?
1) Make sure you have an account in the Straz Center’s ticketing system and that you know your password. The name and address on your account must match the name on the credit card and billing address you use for payment. To confirm or create your account, go to STRAZCENTER.ORG and click on the My Account tab at the top of the page, or go here. If you experience any problem with your account, call 813.229.7827 between 12-8 p.m. Monday-Saturday or 12-6 p.m. Sunday or email us at comments@strazcenter.org. Please contact us for assistance no later than Nov. 15.

2) Decide which performances and price levels meet your needs. Choose several options in case your first choice is not available when your turn to purchase arrives.

HOW WILL ONLINE SALES WORK?
Because of the extraordinary interest in HAMILTON, The Straz will use a virtual waiting room to facilitate the online sales process. Below is detailed information how online sales will work and what to do ahead of time to prepare to purchase.

Hamilton

Jon Patrick Walker – HAMILTON National Tour – (c) Joan Marcus 2018


Online Purchase Guide for HAMILTON

BEFORE NOV. 16, 2018:
Make sure you have an account on STRAZCENTER.ORG and that you know your password. The name and address on your account must match the name on the credit card and billing address you use for payment.

Check your account information by going to STRAZCENTER.ORG and clicking on the My Account tab at the top of the page, or go here.

If you experience any problem accessing or setting up your account, contact The Straz for assistance by Nov. 15. Call 813.229.7827 between 12-8 p.m. Monday-Saturday or 12-6 p.m. Sunday or email us at comments@strazcenter.org.

Decide in advance which performances and price levels you want to purchase. Choose several performance options in case your first choice is not available when your turn to buy arrives. Go here to see the performance schedule and price levels or visit STRAZCENTER.ORG/Hamilton.

PRICE LEVELS – subject to change without notice; handling fees apply
Premium: $489; select center front orchestra seats in rows FF-A
1: $196; front and mid orchestra; mezzanine front, sides and boxes
2: $186; mid-to-rear orchestra; rear mezzanine
3: $146; rear orchestra; balcony front, sides and boxes
4: $116; rear balcony
5: $86; gallery

ON FRIDAY, NOV. 16, 2018:
1. Type STRAZCENTER.ORG/Hamilton into your browser to log in to the Virtual Waiting Room.
• You can log in to the Virtual Waiting Room starting at 6 a.m. on Nov. 16, 2018.
• You will be RANDOMLY assigned a spot in line at 9 a.m.
• Buyers who log in after 9 a.m. will be placed behind those who logged in earlier.
• Once you are assigned a position in the virtual line, you can either leave your browser open and/or sign up to receive an email alert when it’s your turn to buy.
• Any key updates on performance availability will be posted in the Virtual Waiting Room as they become available. They will appear on your screen if you have the Waiting Room tab open.

2. You will have 10 minutes to complete your order if your turn arrives.
• Don’t miss your shot! Watch your email if you sign up for an alert, or keep a close eye on the Virtual Waiting Room tab.
• Know which performance and price level you want before your turn arrives.
• The credit card you use to purchase must match the name and address on your account. We will check orders and will void those where credit card name/address do not match.

3. Buy your tickets.
• The purchase limit is four (4) per household
• The use of bots, duplicate accounts or other methods to circumvent the four-ticket limit will result in cancellation of all tickets.
• You may choose your performance and price level. Select Your Own Seat is not available. The system will assign you the best seat available in your chosen performance/price level at the time of purchase.
• You may split your tickets between different performances and price levels. Add all tickets to your cart before entering your payment information and checking out.
• You will be asked to log in with your STRAZCENTER.ORG account to checkout. Make sure you have an account and know your password ahead of time. You can confirm/create an account here.

Hamilton

Shoba Narayan, Ta’Rea Campbell and Nyla Sostre – HAMILTON National Tour – (c) Joan Marcus 2018


On-Site Purchases for HAMILTON

HOW WILL THE ON-SITE SALES AT THE STRAZ CENTER TICKET SALES OFFICE WORK?

On-site sales will occur at the Straz Center Ticket Sales Office on Friday, Nov.16, 2018.

Sales will be conducted using a wristband lottery and random selection of wristband numbers. Wristband distribution will begin at 5:30 a.m. and continue until 7 a.m. under the Grand Canopy in front of Morsani Hall. (No overnight camping allowed.) Arrival prior to the start of wristband distribution is not advised or necessary since the purchase line will be based on random selection. However, you must be in the lottery wristband line by 7 a.m. to get a wristband.

Lottery wristbands will only be distributed to those 13 and older.

There is no guarantee everyone receiving a wristband between 5:30-7:00 a.m. will be able to purchase tickets. Those arriving after 7 a.m. will be placed in queue (and given differently colored and sequentially-numbered wristbands) and will not be eligible to make a purchase until everyone who arrived prior to 7 a.m. has been served, if tickets are still available.

The purchase line will be organized based on a RANDOM selection of lottery wristband numbers. The first group will be pulled at approximately 8:30 a.m.

There is no guarantee that everyone receiving a lottery wristband will be able to purchase tickets. Sales will end when the available seats have all been allocated.

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Shoba Narayan and Joseph Morales – HAMILTON National Tour – (c) Joan Marcus 2018


DO YOU PROVIDE ACCESSIBLE SERVICES?
Yes. Detailed information about all Straz ACCESS programs and services are available at STRAZCENTER.ORG/Plan-Your-Visit/Accessibility. Wheelchair-and scooter-accessible seating may be purchased in person, by phone and online. Bariatric seating is also available when purchasing in person or by phone.

WHEN WILL I RECEIVE MY TICKETS?
On Nov. 16, you’ll receive an email confirmation of your order. Tickets will be mailed on or around Jan. 8, 2019. All HAMILTON tickets will be mailed to the address specified in your account. Digital delivery is not available.

WHAT IF I CAN’T FIND MY TICKETS OR THEY GET LOST IN THE MAIL?
Tickets will be mailed on or around Jan. 8, 2019. Tickets that have not been received, for any reason, including lost or stolen, will be reprinted with a new one-of-a-kind barcode and held at Will Call under the original account-holder name, and may be picked up with a valid photo ID beginning two hours prior to curtain time on the performance date ONLY. No exceptions. No name changes on tickets are permitted.

DOES THE STRAZ CENTER MAIL TICKETS INTERNATIONALLY?
The Straz Center does not mail tickets internationally. All orders placed with an international mailing address will be held at Will Call for pick-up beginning two hours before the scheduled performance.

PROTECT YOUR TICKETS AFTER YOU RECEIVE THEM.
Each ticket has a one-of-a-kind barcode, and your tickets can be compromised if you share your tickets along with your personal information online. You can still share your excitement online, just make sure to #CoverTheCode by covering the bar code and any other personal information on your ticket.

I FOUND TICKETS ONLINE THAT ARE TWICE AS EXPENSIVE AS YOUR LISTED TICKET PRICES. WHAT GIVES?
If you search “HAMILTON Tampa,” you will likely find many reseller sites advertising HAMILTON tickets at prices higher than those of our official site. Be aware of what site you are on before you make any purchase. Only tickets purchased directly from the Straz Center at STRAZCENTER.ORG, 813.229.7827, 800.955.1045 or in person at the Straz Center Ticket Sales Office are guaranteed to be legitimate tickets for the Tampa engagement of HAMILTON. Buyers who purchase from a ticket broker or third party should be aware the Straz Center is unable to reprint or replace lost or stolen tickets and is unable to contact patrons with information regarding time changes or other pertinent updates regarding the performance, and they run the risk of overpaying or purchasing fraudulent tickets.

HOW CAN I BE SURE I’M ON THE OFFICIAL STRAZ CENTER SITE?
A good check is to look for strazcenter.org or shop.strazcenter.org in your browser window. Reseller sites sometimes use similar URLs and graphics to fool buyers, so pay close attention and look for this exact name.

WHAT HAPPENS IF I BUY FROM A RESELLER OR BROKER?
When you buy from a non-official source:
• The Straz cannot be responsible for tickets purchased through unauthorized third parties.
• The Straz cannot guarantee that your tickets are valid and, therefore, cannot guarantee admittance.
• The Straz cannot replace your tickets if they are lost or stolen.
• You may be paying much more than the ticket’s face value.
• The Straz cannot contact you with information regarding time changes, show cancellations or other information.
• The Straz cannot issue a refund to you in case of an event cancellation.

CAN I RESELL MY TICKETS IF I CAN’T GO?
Pursuant to s.817.36, Florida Statutes, a Straz Center ticket may not be offered or resold for more than $1 over the face value of the ticket. Significant penalties apply. We regularly monitor resale sites and we void sales when we discover violations of our resale policy and/or the Statute. Tickets are a revocable license; tickets found for sale on the secondary market, through third parties or brokers, or accounts found to have exceeded maximum allotments will have all their tickets cancelled.

WHY ARE YOU USING A VIRTUAL WAITING ROOM?
This is an important tool for combating ticket brokers and bots, and it guarantees you keep your virtual place in line. You will get regular updates on your place in line and ticket availability.

WILL THERE BE A LOTTERY DURING THE ENGAGEMENT?
There will be an electronic lottery through “HAMILTON–The Official App” for 40 $10 orchestra seats for all performances. Details about the lottery will be announced closer to the engagement. The best way to be informed about how the lottery will work is to subscribe to Straz Center text alerts by texting HAMILTON to 73005. Standard text messaging rates will apply.

WHAT ARE LIMITED-VIEW or SIDE-VIEW SEATS?
Limited-view and side-view seats are in locations that may have an obstructed view of the full stage.

WILL MORE TICKETS BE RELEASED LATER?
Any additional inventory will be released for sale if and when it becomes available. Check STRAZCENTER.ORG/Hamilton regularly.

CAN I GET ON A WAITING LIST FOR TICKETS?
No. There is no waiting list for HAMILTON tickets. We encourage you to text HAMILTON to 73005 to be notified if any additional inventory is released. Standard text messaging rates will apply.

WHAT IF I CAN’T ATTEND MY PURCHASED PERFORMANCE?
Since all sales are final; we are unable to offer refunds. Be sure to check the following information before completing your purchase: show title, day, date, time of performance, and number of tickets. Tickets can be donated to the Straz Center’s Operation Tickets program which provides theater experiences to underserved persons in the Tampa Bay area. The Straz Center is a 501(c)(3) corporation and your donation is tax-deductible.

HOW CAN I REQUEST A DONATION FOR HAMILTON TICKETS FOR MY FUNDRAISER?
We are unable to accommodate donation requests for HAMILTON.

CAN I PURCHASE PARKING DURING THE ON-SALE?
After receiving confirmation of your performance date and time, pre-paid parking may be purchased at strazcenter.pmreserve.com.

CAN I PURCHASE DINING DURING THE ON-SALE?
On Nov. 17, 2018, the Straz Center will contact purchasers via email with the opportunity to book dining reservations at Maestro’s Restaurant or The Café, both on-site at The Straz.

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Joseph Morales and Company – HAMILTON National Tour – (c) Joan Marcus 2018


About The Show

WHAT IS THE RUNNING TIME FOR HAMILTON?
Running time is 2 hours and 45 minutes, including intermission.

IS THERE AN AGE REQUIREMENT/RECOMMENDATION?
HAMILTON is appropriate for ages 13+. The show contains some strong language and non-graphic adult situations. As with all Broadway shows, children ages five and under are not permitted. Every patron, regardless of age, must have a ticket.

IS THE ORIGINAL BROADWAY CAST PERFORMING IN THE TOUR?
No. Tampa’s engagement of HAMILTON is part of the national tour. Casting for the tour reflects the same talent, attention to detail and high quality as the Broadway production. We encourage you to check out HAMILTON’s tour schedule at the official HAMILTON page. For more information about the cast in this U.S. tour, visit: http://www.HAMILTONmusical.com/#tour.

WHERE CAN I LEARN MORE ABOUT HAMILTON?
Website: HAMILTONMusical.com
Facebook: HAMILTONMusical
Instagram: HAMILTONMusical
Twitter: @HAMILTONMusical

Make Sure Your Tix are Legit

Conventional wisdom holds that if you say something three times you’ll remember it. The safest, most affordable tickets to Straz Center shows come from only one place:
“Strazcenter.org”
“Strazcenter.org”
“Strazcenter.org”

Hamilton

Shoba Narayan, Ta’Rea Campbell and Nyla Sostre in the HAMILTON National Tour. (Photo: Joan Marcus 2018)

With sold-out season ticket packages for the huge Broadway season ahead featuring a four-week run of Hamilton, we’re trying to get you the best information about single tickets before scam artists with fakes find you first.

People, this thing about our upcoming season and ticket buying is serious.

You may hear the thundering approach of a particularly revolutionary Broadway blockbuster.

But – there are hundreds of other people who hear cha-chinging cash registers racking up your credit cards with fake tickets.

Scams everywhere

Those people have already set up websites that look like they sell Hamilton and other Broadway tickets to Straz shows. However, they’re either lying and the tickets aren’t real, or they managed to buy season tickets from us and now they’re going to jack up the prices 500% and illegally sell our tickets to you. Another problem is that those illegal seats are often sold several times. If you don’t buy through us, we usually have no way of knowing whose tickets are legit, and we have no way of helping you get your money back.

So, the best choice you can make is the best choice you’ve always had: buy straight from strazcenter.org or our Ticket Sales Office (813.229.7827). We also invite you to come to the Ticket Sales Office in person so we can meet you and give you good, old-fashioned, face-to-face exceptional customer service. The bottom line is that we need you all to be extra vigilant this year and help us spread the word that 1) tickets are going to be more difficult to come by for all Broadway shows on the regular season because we have so many new season ticket holders and 2) predatory scalper schemes will be on the rise.

computer throw

We can learn a lesson from the folks in Los Angeles who posted their Ham tix on Facebook, only to have some very crafty people lift the barcode from the pictures and create counterfeit tickets they then sold online at exorbitant cost. If you don’t buy directly from us, there’s no way to prove the seats are yours if there has been a double sell – even if you believe you bought them fair and square. Trust us, this happens even during seasons when we don’t have the cultural phenomenon of our time, so please stay away from ticket brokers, scalpers or any source other than strazcenter.org or our Ticket Sales Office.

Hamilton has permeated pop culture, and no other show has done that, at least not off the bat. Theater people were excited about Wicked or The Phantom of the Opera. Everyone’s excited about Hamilton,” says Vice President of Marketing Summer Bohnenkamp. “There’s been a 68% increase in the number of season tickets we’ve sold since last season. That’s exciting for a number of reasons. We’ve never seen a jump like that in the 18 years I’ve been working on Broadway shows. The closest was the first time The Lion King came, which was about a 20% increase. The challenge for people wanting to buy single tickets, though, is that all of the inventory is now very limited. So, if you want to buy a ticket to, say, Hello, Dolly! or A Bronx Tale, there will be limited seats available because we have thousands and thousands of new season ticket holders.”

meme

If you’re not a season ticket holder and you still want good odds at seats to our shows, the best bet is to become an annual donor to The Straz. By doing so, you get priority access for single tickets, which means you get the chance to buy tickets to most shows before they go on sale to the public. Give our Development Department a call for more information.

“The inventory is still limited, but at least you’ll have early access to that inventory,” says Bohnenkamp. “Buy when the tickets go on sale. I know we’ve been saying ‘don’t wait,’ but we really mean it. We’ve been saying it for a reason, and that’s so you don’t walk away disappointed. We want everyone who wants to see a show here to be able to see that show. This year is going to be a little bit harder. Remember – don’t search for tickets online because the paid ticket broker ads show up first, not the real Straz. Just type in strazcenter.org.”

Squad

In addition to the regular Broadway season, we offer a boutique collection of Broadway encores not on the subscription season. Thus, these shows have many more seats available. If you want to grab dinner and a show without confronting the Hamilton effect, you’ll have some super choices throughout the year. “We’ve got the new tour of Les Mis which is gorgeous, and it will be here for a week,” Bohnenkamp reports. “We’re bringing back Kinky Boots, which everybody loved. We’ve also got Tap Dogs coming back – it’s having an international resurgence so we are really looking forward to presenting it in Tampa after almost 20 years. Then there’s Rock of Ages for an entire week over the summer which will be tons of fun.”

 

Witch Way

Halloween lurks and looms. Witch means (see what we did there?) it’s time to take a look at some really great harpies, hags, conjurers and spellcasters from stage and screen. Here’s a Ten List since we had too much toil and trouble trying to figure out how to rank the best witchy stories and characters ever.

Into the Woods

Into the Woods
You thought we’d start with Wicked, didn’t you? Ah-ha! A trick!

This Sondheim favorite would fall apart without the machinations of Witch, who plays a pivotal role in the entire plot (as witches do). When Into the Woods—which is a wild adaptation of Grimm and Charles “Cinderella” Perrault fairy tales—opened on Broadway in 1987, guess who played Witch? (Answer at bottom).

 

macbeth meme

Macbeth
As noted, witches tend to co-opt a story, sending hapless protagonists straight to madness and/or death. Nobody does it better that The Weird Sisters, Shakespeare’s trio of heath-living hags, who show up smack-dab in the middle of Macbeth’s victory lap to plant some pretty poisonous prophecies in his soldier’s brain. If anything, these ladies teach us eye of newt is not to be trifled with. Not at all.

 

Wicked Elphaba

Wicked
Here we are! Wicked. The Wicked Witch of the West gets a name, a backstory, a psychology, a friend. What is not to love about this show? And the original Broadway cast? Idina Menzel, Kristin Chenoweth, Joel Grey, Norbert Leo Butz. Fuggedaboutit. So here’s another trivia question … Norbert Leo Butz, who played Elphaba’s love interest Fiyero, later starred on what Netflix series set in the Florida Keys? (See below.)

 

Narnia White Witch

The Lion, the Witch, and the Wardrobe
No matter whether this tale comes to life on the page, on the stage, in animation or on the big screen, children everywhere remember the shameful temptation of Turkish delight thanks to the frosty witch of this classic. The White Witch solidifies, literally, her glorious evil by freezing Mr. Tumnus and then we feel great about hating her for the rest of the story.

 

Hocus Pocus

Hocus Pocus
So, this colorful little film turned 25 this year and is seeing a well-deserved anniversary celebration. After years with cult status, coven status?, the film’s characters landed lead roles in Mickey’s Not-So-Scary Halloween Party at the Magic Kingdom, putting them in league with Disney’s witches, the Who’s Who of pop culture witchery. The poorly-reviewed Sanderson Sisters in the movie—powered by a buck-toothed Bette Midler, rubber-faced Kathy Najimy, and ultra-curvy “straight man” Sarah Jessica Parker—get their revenge at last, which, like destroying the main characters’ lives, also seems to be the destiny of great witch characters.

 

Wizard of Oz

The Wizard of Oz
When you have an army of flying monkeys in jaunty fezes and matching capes, you are next level wicked. When you set fire to a straw person whose only desire in life is to have a brain, you are the worst. And then you threaten a dog. This is so much evil we can’t write another word about it.

 

the crucible

The Crucible
Okay, back up. Even though the characters in the Arthur Miller classic about falsely accusing people of being witches so they get killed is technically about fictional fake witches, the point of the whole story is that real humans can be eaten by fears that turn them even more evil than someone who ignites a scarecrow-man. Leave it to Mr. Miller to use witches as deconstructed symbolism that are no fun at all.

 

hermioneHarry Potter and the NOUN of NOUN
Where to start, where to start … J.K. Rowling’s global takeover with this story repackaged witchcraft and wizardry that made not only magic cool as all get out but also—school. Witch school was the place everyone wanted to be, even the disgusting warped force of soul-splintered evil driving the main story arc. The question here is, who’s your favorite witch—McGonagall? Bellatrix? Fleur? Hermione? Ginny? Ginny was the best, right? Or Nymphadora? Too many choices.

 

A Wrinkle in Time

A Wrinkle in Time
A very huge shout out to any story that successfully mixes quantum physics and witches. The universe and its mind-bending sub-atomic particle activity is in the capable metaphysical, zen-like hands of Mmes. Who, Whatsit and Which. Here we have a trinity of good witches marshalling a girl to heroic super-heights in negative space and it’s an interesting read. That in and of itself is powerful conjuring.

 

the craft

The Witches of Eastwick and The Craft
We said ten list, but here we have an Eleven List. Another trick! Ha-ha!

Truthfully, we again faced insurmountable indecision. If this Halloween-y blog was worth its salt, we’d have a Thirteen List, wouldn’t we? However, our last two screen covens represent the perennial attraction of witches but to different generations. Beautiful women, unlimited power. Cher on the one hand, Neve Campbell on the other. Even Jack Nicholson couldn’t survive in a world of Susan Sarandon’s magic (may be factual), but let’s face it: Michelle Pfeiffer has zero trouble casting a spell. Zero.

witches of eastwick

 

We’ve tricked you a few times in this blog, so how about a treat? Come see other famous witches when the Opera Tampa Singers perform The Witching Hour on Oct. 26 from 7-8 p.m. in the Jaeb Courtyard. It’s FREE!

TheWitchingHour_Logo.indd

How’d you do with your trivia?
1. Bernadette Peters played Witch in the original Broadway Into the Woods.
2. Norbert Leo Butz starred in Bloodline as the flighty youngest brother Kevin Rayburn.
3. Treat! Our favorite Potter witch is Nymphadora. No, Hermione. We mean Ginny!