![]() ![]() What does one do after a year like Miranda’s, I ask. Such is the pitch of his fame that it is hard, today, not to encounter the 36-year-old, who is slight and boyish and unexpectedly clean shaven, and not simply burst into laughter. ![]() ![]() He has rapped with Barack Obama in the Rose Garden, been quoted by Hillary Clinton in her speech accepting the Democratic nomination for president, and seen his beard and ponytail combo become almost iconic. Since its opening last year, not only has Hamilton sold $1bn worth of tickets, won a Pulitzer and 11 Tonys and become the most successful Broadway opening of all time, but Miranda has been credited with everything from reinventing musical theatre to revolutionising the way Americans think about their own history. Two weeks earlier, Miranda took his last bow before leaving the cast of Hamilton, the rap musical he wrote and starred in and for which the word “hit” seems, at this point, inadequate. O n a hot day in late August, Lin-Manuel Miranda sits in a lecture theatre at Columbia University in uptown Manhattan, fizzing with the kind of energy that only comes, one imagines, from the experience of creating a billion-dollar Broadway show. ![]()
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