Jin Ha on His History With Hamilton, Reviving Proof and Truly Getting Into Character

One of the most unique elements in the long-running musical Hamilton is the range and variety of performers who portray America’s Founding Fathers. Case in point: Korean-born actor Jin Ha, who is giving an elegant star turn as Aaron Burr. A familiar face on the small screen for leading roles in Pachinko and season four of Only Murders in the Building, Ha has been part of the Hamilton family since covering multiple tracks in the show’s 2016 Chicago premiere. It’s an exciting season for the 32-year-old actor, who will join Ayo Edebiri, Don Cheadle and Samira Wiley in the forthcoming Broadway revival of David Auburn’s Tony-winning drama Proof.

Ha’s versatility has allowed him to jump with ease from playing an alluring courtesan in the 2017 Broadway revival of M. Butterfly to the title character’s rival in Hamilton to a modern-day mathematician in Proof. His latest feature film, Zi, written and directed by Kogonada and co-starring Haley Lu Richardson of The White Lotus fame, premieres at the end of January at the Sundance Film Festival. Ha chatted with Broadway.com about the fun of being unrecognizable from role to role and his gratitude at being tapped for both plays and musicals.

You have an extensive history with Hamilton. What makes Aaron Burr such a vivid, exciting character?
Let me begin with a little tangent. Trey Curtis, who just departed as Hamilton, and I both started as “M5,” an ensemble role that understudies most of the principals. I love that we had this shared history of stepping up from the ensemble into these complementary [leading] roles, because that’s the best way for me to describe why Burr specifically is so captivating: It’s about how much humanity is expressed through the character. I think of the role as a palette where I get to use almost every available color.

It must be a challenge not to make Burr seem like a villain from the beginning.
For sure, and that is very much an intentional directing choice. The note is always that this musical can be seen as Burr’s attempt at remembering the events that led to his downfall and hoping it might turn out differently this time. Burr is there to invite the audience in: “Check out this incredible story I’m about to tell you. You won’t believe what’s about to happen.”

The original company casts a long shadow—anybody can watch them on Disney+, and Leslie Odom Jr. recently returned for a limited run as Burr. How do you set that aside and put your own stamp on the role?
The power and beauty and resilience of the show is that so many different people can interpret it, and it works in a way unique to that cast. For me, it’s not a matter of blocking anything out; it’s taking inspiration from the original company and everybody I’ve been able to work with. I can point to a dozen moments that refer back to previous Burrs. When I saw Leslie perform this last time, it was delightful to watch him make new choices that make sense for where he is now. I remember reading that he was interested in finding more joy for this run versus the original, where there was a lot of anxiety and responsibility for launching the piece. I also trust that no matter what choices I make, it’s going to be different because of my body and my voice.

People who know you as the ambitious young businessman in Pachinko may not realize that you also do musicals.
I love being able to surprise people in terms of what they think I can or cannot do. I’m thrilled when anyone who watched Pachinko comes [to Hamilton] because I am so proud to have been a part of that show. My favorite thing is when somebody says, “It took me a second, but now I realize I saw you in Only Murders in the Building!” That character, [nerdy screenwriter] Marshall, is so different from Burr, and it’s such a delight to transform and convincingly portray different types of people.

Let’s talk about the 2023 musical Here We Are, in which you and Micaela Diamond played lovers and debuted two Sondheim songs—including one in which you held the final note for 25 seconds!
I didn’t know the exact figure, but that’s great. [Laughs] I’ve been thinking about that note [in “A Soldier’s Dream”] in coming back to Burr. Some days, when it feels a little difficult to hit the last note in “The Room Where It Happens,” I think, “This is kind of scary, but I can hold a note.” It’s a nice boost of confidence.

What was it like to be part of the final Sondheim musical?
Truly unbelievable, in every meaning of that word. I was lucky enough to have met Sondheim twice [in 2019]: once during the workshop of Merrily We Roll Along that Fiasco Theater put together, and once after a performance of Road Show at New York City Center Encores! Those were brief meetings, but in my mind, I felt I couldn’t top that—to not only work on his material but meet the man himself in his later age. I never thought I would have the opportunity to originate one of his roles. [Here We Are] is obviously a special musical because he passed away while they were finishing it, but his voice was in it throughout. That wasn’t lost on us—the entire company was so determined and motivated.

Tell us about the anticipation of jumping from Hamilton to the Broadway revival of Proof.
I thought I would be having double duty, but because I’m staying within the TKU—the “Thomas Kail Universe” [director of both shows]—the schedule will not overlap. My final performance as Burr will be March 1, and I start rehearsals for Proof on March 2. It feels like a break to be switching from a performance schedule to a rehearsal schedule, and I’m chomping at the bit to dig into Proof with that team.

It’s lovely that Thomas Kail keeps it in the Hamilton family by casting Brian d’Arcy James in Anna Christie and you in Proof. How does it feel to be part of this powerhouse foursome?
I’m trying not to repeat myself, but… incredible? [Laughs] There’s some nerves, but to be frank, the nerves don’t feel prominent; it’s mostly excitement. Proof is a play that is done in every scene study class from high school to college and to grad school. By the way, Ben Shenkman, who played my role 20 years ago, is an alumnus of my grad program [at NYU], so I’m thrilled to be taking the baton. I also think it’s interesting that the first Broadway revival of the play will be told with a Black family in Chicago.

During the revival of M. Butterfly, you spoke about the challenges Asian actors face in casting. Have opportunities improved since the pandemic?
I think the opportunities ebb and flow. The roles are perhaps more rich and more available, but it’s a stumble toward progress. It’s interesting to embody Burr, understanding that the concept of Hamilton is to recast these historic white men and women with actors of color, but at the same time the audience is watching me, a Korean-American actor. Both things come through. There’s a line in “Dear Theodosia” where Burr says, “You have my eyes; you have your mother’s name.” I’m moved by that because it means something different for an Asian immigrant to say that line.

The New York Times recently ran an article about the rise in K-dramas, and the crime thriller series Made in Korea is making a splash. Are those trends helpful for American-based Korean actors?
They’re different industries, but there absolutely is some kind of connection. I think the bridge is something like KPop Demon Hunters, which is a deeply Asian story in that it is about KPop and features Korean-Americans and actors from Korea but it’s an American production in English. I’ve heard that there is going to be a live action [adaptation] or maybe a big musical. That would be the perfect example of popularity in Korean culture providing opportunities for Korean-Americans.

Having moved to the United States at age eight, how did you navigate attending establishment schools like Choate Rosemary Hall and Columbia University?
That’s kudos to my mom. As with many immigrant parents, there was a focus on providing her children with the best education available. Obviously, one does not have to go to a private boarding school or an Ivy League college to get a good education, but she was trying to set us up for access to opportunities. Both of my parents are super artistic and creative, although their jobs never allowed them to pursue it, but they were always supportive of me.

You’ve worked with everyone from Steve Martin and David Hyde Pierce to Oscar winner Youn Yuh-jung. What have you learned from people like them about building a long-lasting career?
Everyone finds their own path, and it isn’t about the end goal; the path should be the focus. Aim for the stars, but enjoy the journey on the way. I’ve also learned about gratitude in working with those greats. No matter how successful or prolific their careers have been, the best people always have a sense of, “I’m so happy to be here.” I really take that to heart.

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