Jeffrey Seller

Jeffrey Seller. Good afternoon. Jeffrey Seller here. I am the producer of Hamilton on Broadway and all over the world.

Jeffrey Seller. Good afternoon. Jeffrey Seller here. I am the producer of Hamilton on Broadway and all over the world.

Jeffrey Seller. Good afternoon. Jeffrey Seller here. I am the producer of Hamilton on Broadway and all over the world.

I came to New York with my bar mitzvah money. I had maybe $1,100, $10,000 of student debt, and my first job netted me $205 a week in 1986. So I had no money. I had no family money. There was no one in my family I could ever call to say, could you put $20,000 or $10,000? I mean, that would be a joke.

I came to New York with my bar mitzvah money. I had maybe $1,100, $10,000 of student debt, and my first job netted me $205 a week in 1986. So I had no money. I had no family money. There was no one in my family I could ever call to say, could you put $20,000 or $10,000? I mean, that would be a joke.

I came to New York with my bar mitzvah money. I had maybe $1,100, $10,000 of student debt, and my first job netted me $205 a week in 1986. So I had no money. I had no family money. There was no one in my family I could ever call to say, could you put $20,000 or $10,000? I mean, that would be a joke.

Those are investors who we rely on. And by we, I mean the audience relies upon them. Us holistic producers rely upon them. Historically, they were called dilettantes. And it wasn't necessarily a pejorative. It was just a description of an arts lover and an arts supporter. Is there a relatively infinite supply of the people formerly known as dilettantes?

Those are investors who we rely on. And by we, I mean the audience relies upon them. Us holistic producers rely upon them. Historically, they were called dilettantes. And it wasn't necessarily a pejorative. It was just a description of an arts lover and an arts supporter. Is there a relatively infinite supply of the people formerly known as dilettantes?

Those are investors who we rely on. And by we, I mean the audience relies upon them. Us holistic producers rely upon them. Historically, they were called dilettantes. And it wasn't necessarily a pejorative. It was just a description of an arts lover and an arts supporter. Is there a relatively infinite supply of the people formerly known as dilettantes?

There is an interesting pattern, which is that by the late 70s and the 80s, there were very few investors on Broadway. If you look back to the 1980s, if you remove the four British mega hits, Cats, Les Mis, Phantom, and Miss Saigon, all produced by Cameron McIntosh, We had very little musical theater or legitimate play theater going on on Broadway.

There is an interesting pattern, which is that by the late 70s and the 80s, there were very few investors on Broadway. If you look back to the 1980s, if you remove the four British mega hits, Cats, Les Mis, Phantom, and Miss Saigon, all produced by Cameron McIntosh, We had very little musical theater or legitimate play theater going on on Broadway.

There is an interesting pattern, which is that by the late 70s and the 80s, there were very few investors on Broadway. If you look back to the 1980s, if you remove the four British mega hits, Cats, Les Mis, Phantom, and Miss Saigon, all produced by Cameron McIntosh, We had very little musical theater or legitimate play theater going on on Broadway.

People with money had not yet discovered Broadway. Maybe they discovered the world of visual art first. But a lot of people with money started to discover Broadway, enjoy going to Broadway, and enjoy investing in Broadway. We are producing more musicals every year as a result of that activity.

People with money had not yet discovered Broadway. Maybe they discovered the world of visual art first. But a lot of people with money started to discover Broadway, enjoy going to Broadway, and enjoy investing in Broadway. We are producing more musicals every year as a result of that activity.

People with money had not yet discovered Broadway. Maybe they discovered the world of visual art first. But a lot of people with money started to discover Broadway, enjoy going to Broadway, and enjoy investing in Broadway. We are producing more musicals every year as a result of that activity.

Lynn and his colleagues, Tommy Kail, who's his director, they walked in my office in the summer of 2003. None of them were 30. They weren't even close to 30. They were courageous and adorable and fun. And the next thing I did is I went and watched them do Freestyle Love Supreme, their hip-hop improvisation show.

Lynn and his colleagues, Tommy Kail, who's his director, they walked in my office in the summer of 2003. None of them were 30. They weren't even close to 30. They were courageous and adorable and fun. And the next thing I did is I went and watched them do Freestyle Love Supreme, their hip-hop improvisation show.

Lynn and his colleagues, Tommy Kail, who's his director, they walked in my office in the summer of 2003. None of them were 30. They weren't even close to 30. They were courageous and adorable and fun. And the next thing I did is I went and watched them do Freestyle Love Supreme, their hip-hop improvisation show.

And I thought, oh, Lin is a genius. How is he making these raps up on his feet? So I knew I was in the presence of sheer brilliance. When I experience a new musical, I want the music to prick my ear in a different way. And we created a reading of In the Heights with a small band. And this was my first experience of it.

And I thought, oh, Lin is a genius. How is he making these raps up on his feet? So I knew I was in the presence of sheer brilliance. When I experience a new musical, I want the music to prick my ear in a different way. And we created a reading of In the Heights with a small band. And this was my first experience of it.