The Musical Assignment | Custom Essay Services
HAMILTON THE MUSICAL
Musical Theatre History
Hamilton is a musical that tells the story of Alexander Hamilton, an American statesman, legal scholar, banker, and economist. Historians refer to him as one of the founding fathers of the United States. Directed by Lin-Manuel Miranda, a prolific composer, actor, singer, and rapper widely known for his roles in Broadway musicals, the musical adapts a style that mixes both R &B, pop, soul and classical theatre numbers[1]. Hamilton has been widely critiqued by film and music pundits, examining its theatrical performance as well as relevance to the broader social context. For instance, a review by Kyle Smith, a film enthusiast reporting for the National Review, examines the musical based on its relevance to the modern-day events surrounding perception and acceptance of immigrants[2] Churchwell, a musical critic, writing for the Guardian, on the other hand, reviews the cultural interconnections between the songs[3]. Churchwell admits that she has never seen such a widely known and universally accepted slate of songs in a musical. Just like any form of art, Hamilton influences perceptions and overall attitudes of its targeted audience by allowing for a connection between current or past events and the scenes displayed. Hamilton has changed musical theatre by eliminating racial biasness on Broadway and drawing a wider range of audiences towards the performances.
Hamilton is based on a story told about Alexander Hamilton, the founding father of the United States, as narrated by Ron Chernow in a 2004 biography titled Alexander Hamilton[4] Ron Chernow decided to write about one of the critical figures in American history. His fundamental role in the formation of the first government as an economic advisor and secretary of the treasury is highly popular in the country. The musical is based on this historical context, as narrated in the biography.
Hamilton first opened on Broadway on July 13th, 2015 at the Richard Rodgers Theatre. The musical has been running on Broadway up to the present moment (BBC 2016). Pundits predict that the musical will continue to run on Broadway up to 2022. The debut featured a theatre performance. The original cast recording of the performance is available at the Lincoln Center Library for Performing Arts. Performances were done against a backdrop of music soundtracks. While there is no film version of the musical, Lin Manuel Miranda, in an interview with Hadley Freeman, a musical journalist, indicated that a film based on the musical would be released in 2021[5].
The major players in the Hamilton include Lin Manuel Miranda as the executive producer and in charge of book, music, and lyrics. Others include Howell Binkley, who is in charge of lighting, Andy Blankenbuehler, in charge of choreography, and Jill Furman, in charge of production[6]. Lin Manuel Miranda was already known in Broadway for his role in producing The Heights. In his memoir, Miranda lists the achievements he had realized as a result of taking part in the production of this film. These include a Grammy award, Rony Award, and the Pulitzer Prize for Drama[7].
One of the elements that have made Hamilton create endearment and wide acceptance with the society as a musical is its involvement of a diverse pool of players/actors. The players include Alexander Hamilton played by Miguel Cervantes, Aoron Burr played by Daniel Breaker, Angelica Schuyler played by Mandy Gonzalez, King George, by Euan Morton, Eliza Hamilton played by Krystal Joy Brown. The lead actors include Miguel Cervantes, Joy Brown, and Danile Beaker. Alexander Hamilton helps to bring out a new trend in Broadway: that hip hop and rap can thrive at the box office[8]. This comes after the failure of the Holla if Ya Hear Me, dispelling doubts as to whether Broadway is more receptive to contemporary sounds.
Alexander Hamilton’s role in dispelling these doubts is evident in the beginning numbers. In his review of the musical, Petridis highlights various scenes characteristic of the hip hop genre[9]. For instance, Alexander Hamilton tells the story of a man who used his way of words to rise to the top. He tells the story in a manner that mimics the lyrical and rap styles of Jay-Z, Biggie, and Nas[10]. In addition to this scene, there are carefully placed shout-outs to musical legends in hip-hop. These include Eminem, DMX, and everyone from the Mobb Deep. Hamilton’s opening number, for instance, finds Alexander Hamilton introducing with repetitions of “What’s your name?” a mode characteristic of hits from rappers like Snoop Dog, Drake, DMX, and Rihanna. Also, the rising harmonies as the chorus to the opening song sing “New York,” a lyric reminiscent of Jay Z and Alicia Keys’ song “Empire State of Mind.” Another song “coming up from the bottom” mimics Drake’s “Started from the Bottom” song released in 2010. Hamilton goes further to prove his verbal prowess in the song “My Shot.” He does so by referencing some of the great MCs and uses lyrical lines similar to the one used by the Mobb Deep. He tells his peers, “I am only 19, but my mind is old.”
Many of the stars in the musical have not come out to comment on it. However, Lin Miranda, the producer who some times played the lead role, has always come out to talk of public interpretations of the musical. In one of the interviews, he gave his opinion on why he chose a diverse cast team[11]. According to him, the US musicals “have long been a white, stuffy closed shop.” He wanted to create something different by bringing diversity to a whole new level in Broadway. In his memoirs, Miranda gives an account of the challenges he faced in trying to bring a new concept in theatre[12]. He mentions widespread white dominance in theatre and the need to confront the issue amidst rising awareness, tolerance, and overall acceptance towards diversity and acceptance.
This team of actors has played a significant role in shaping public opinion about musical theatre and associated art forms. The musical has been praised for having a diverse cast, a strong indication of racial inclusivity and acceptance in musical theatre. This comes against a historical background characterized by pervasive discrimination against races in Broadway. An interview with Debbie Allen, an actress, and producer in Broadway, brings into perspective the racial discrimination practices that were prevalent in the 20th century Broadway (Teeman 2019). According to her, Broadway was “ an old bastion of white patriarchal supremacy.” Her concerns are validated with a study conducted in 1999 among English producers. The study revealed that only 3.5% of board members of English producers were African Caribbean and Asian[13]. Lack of balanced inclusivity of people of color stretches beyond the directors and producers to the cast members. However, Hamilton is a representation of the potential of Broadway to confront the issue of imbalanced and discriminative actions against the people of color. Kylie Umehira, a music professor at the University of Boston, refers to Hamilton as an “encouragement for true inclusion in theatre.” (Umehira 2016) The diverse cast, which includes young black, Asian, Latino, and mixed-race players, replaced the old white founding fathers and their associates. While controversial from a political dimension, Hamilton’s portrayal of the great white men of history using mixed race identities is something that is going to set a precedence in musical theatre.
Some of the songs have become a hit, gracing contemporary music charts, including the Billboard musical chart. These songs include “Wait for It,” “Satisfied,” “It’s Quiet Uptown,” and “my shot.” The “Wait for It” was widely played after the Tony Awards, coming up to the top 100 positions in the Billboard 100 musical chart. “My Shot” was at one time ranked at position 150 after the awards with “Its quiet uptown” coming at 200 in the charts. Given the impressive performance of the songs, Aaron Pearce, Alicia Keys, and Andy Thompson decided to reproduce the songs. The production was The Hamilton Mixtape. The musical took off, rising to the 40th position in the Billboard charts[14]. The song was recorded with the Atlantic label between 2015-2016 and released in December 2016.
Hamilton is considered to be at the center of cultural debates regarding diversity as well as political correctness. A review published in the Guardian, a UK-based media outlet, praises the film for connecting accurately with the historical portrayal of the American culture during the colonial period[15]. The musical is culturally relevant[16]. It confronts the bad cultural elements that make people not to have tolerance and general acceptance towards people who do not conform to their pre-formed and highly revered cultural beliefs. It is because of this cultural context that the film wide acclamation across the world. Statistics of the response to the musical bring further perspective into its performance and overall acceptance. Hamilton won 8 Drama Desk Awards, including an award in the Outstanding Musical category[17]. The show also received impressive box office sales when it premiered on the Richard Rodgers Theatre on Broadway. In the Tony Awards, the musical received a record of 16 nominations, winning 11 of them. These include Best Musical, and the numerous awards indicated above. The wide acceptability improved the image of Musical Theatre, creating more endearment and a positive attitude toward this form of art by the public.
The other social context is that the musical tries to introduce the hip hop culture in Broadway. Lin Manuel Miranda mashed up musical theatre and hip-hop, a trend that had never been seen in the industry[18]. Musicals such as Falsetos (1990) consisted of jazz and rock genres[19]. Beauty and the Beast (1993) consisted of a combination of R & B and jazz. Hamilton introduced a new style that was not common in the musicals: hip-hop. In his article titled “We can relate: Hip-hop culture, critical pedagogy, and the secondary classroom.”Stoval defines hip-hop as a style of music that is popular among the US black and Hispanic community. The music features a rap backed up with electronic beats[20]. Widely unpopular among the majority of Americans in the 20th century, hip-hop music has grown into a cultural movement in the US and across other parts of the world. As such, it is an artistic element that resonates with certain sections of the audience. Hip-hop mainly appeals to the youths, who mostly look up to the rappers they perceive as role models and idols[21]. The culture has grown beyond music to include clothing, thought patterns, and other behavioral modifications.
Hamilton is a potential precursor for social change. The diverse cast members is an indication that people of color can perform well in Broadway and other platforms. As Bryer, a film critic at CNBC, mentions, Hamilton is more than a musical[22]. It is a national phenomenon with a strong cultural and educational influence on the people. The musical does not shy away from presenting the gender and racial exclusions that mark the history of the United States and other parts of the world[23]. According to historians, it has become a new American myth, helping to bridge the American divide over racism[24].
The wide acclamation of Hamilton has seen many references made to the musical. The spreading popularity of the musical saw it being transferred to London’s West End. The show opened on at the Victoria Palace Theatre in October 2017, allowing for further audience experience. Preliminary interviews with Lin Miranda indicated that the was thrilled at the transfer (B.B.C 2016). The transfer is due to the huge support it received from the British audience. This is attribute to the musical’s significant impact and attraction of a range of audience types, including political enthusiasts and entertainers.
The musical’s wide public acclamation made it to go off-Broadway. It has been widely performed in the US and UK. Lin Miranda’s desired to create a musical that resonates to a wide range of audiences does not end with hip-hop, as she also includes genres such as R&Bs and classical music. The musical went on a series of tours across the United States, including Chicago, Los Angeles, Houston, Atlanta, Washington DC, Denver, and Washington DC. The musical is said to be earning up to $500,000 per day, with estimates showing the gross earnings will reach $1 billion. Off-broadway performances are projected to enter Canada in the next one year. Off-road performances have been widely accepted, as evidenced by the impressive ticket sales. Diggs, a reporter with the CBS news, says that the musical is portrayed as a revolutionary masterpiece that offers a thrilling salute to immigrant Americans[25] (Diggs,2016). A 22-years college student was interviewed via Skype after attention the Hamilton shows at the Theatre of Chicago. She said, “the show is one high-energy package. I’m impressed that it portrays every race in America. I wish Americans could embrace inclusivity they was it is in the musical.”
The Hamilton musical has also captured the attention of some scholars. Philip Kasinitz, a renowned American sociologist and the current presidential professor of sociology at the City University of New York, provides a critical review on the musical and how it has impacted immigrants and the political context within which it is formed[26]. He portrays the musical as widely populist with biased portrayal of the issue of inclusivity. He pokes holes into the idea of communicated in the musical, which he says encourages uncontrolled immigration into the US. Elissa Harbet, an award winning musicologist with vast experience and expertise in music in Europe and the United States, also comments on Hamilton in her analysis of history musicals[27]. She portrays the musical as a widely social revolutionary, with significant impact on the perception of broadway.
In addition, to scholars who write peer reviewed articles, there are books written about this musical. Hogeland, Freeman, Monteiro and Harris wrote a book to review the perceptions of historians on the musical. Titled “Historians on Hamilton: How a Blockbuster Musical is Restaging America’s Past,” the book presents critiques from 15 historians, with some casting doubts on its contextual accuracy and inaccurate portrayal[28] . Further research into the available literature did not reveal other book publications on the musical. While Lin Manuel Miranda has widely taken credit for the musical, a recognition of its Libretto Hamilton the Revolution: Being the Complete Libretto of the Broadway Musical. The book was published by Lin-Manuel Miranda in conjuction with Jeremy McCarter in October 2016.
Bibliography
B.B.C. 2016. Hamilton creator ‘thrilled’ over West End transfer. London: BBC.
BBC. 2016. Sixteen ways Hamilton transformed theater – and the world. London: The BBC.
Billington, Michael. 2017. Hamilton review – revolutionary musical a thrilling salute to America’s immigrants. London: Guardian.
Boyle, Antony. 2001. Eclipse Report: Developing Strategies to Combat Racism in Theatre. Arts Council.
Broadway. 2020. Hamilton – Broadway Creative Team. The Broadway World .
Bryer, Tania. 2017. Award-winning ‘Hamilton’ musical was ‘no overnight success’, says creator Lin-Manuel Miranda. Cnbc.
Chernow, Ron. alexander Hamilton. Head of Zeus Ltd, 2016.
Churchwell, Sarah. 2016. Why Hamilton is making musical history. London: The Guardian.
Diggs, David. 2016. “Hamilton”: A revolutionary musical. CBS News.
Freeman, Hadley. 2018. The crown prince of Broadway talks politics, Hamilton and Mary Poppins Returns. London: The Guardian.
Harbert, Elissa. “Hamilton and History musicals.” American Music 36, no. 4 (2018): 412-428.
Hogeland, William, Joanne B. Freeman, Lyra D. Monteiro, Leslie M. Harris, Catherine Allgor, Michael O’Malley, David Waldstreicher et al. Historians on Hamilton: How a Blockbuster Musical is Restaging America’s Past. Rutgers University Press, 2018.
Kasinitz, Philip. “hamilton’s immigrant america.” Contexts 15, no. 3 (2016): 69-71.
Keys, Alicia. 2016. The Hamilton Mixtape. Cond. Andy. Comp. Aron Pearce.
Major, Melisa. 2016. 7 Ways ‘Hamilton’ has Impacted America. PBS.
Miranda, Lin-Manuel, and Jeremy McCarter. Hamilton: The Revolution. Hachette UK, 2016. Stovall, David. “We can relate: Hip-hop culture, critical pedagogy, and the secondary classroom.” Urban Education 41, no. 6 (2006): 585-602.
Miranda, Lin Manuel. 2017. Gmorning, Gnight!: Little Pep Talks for Me & You. Johhnny Sun Inc.
Ogasawara, Rie. 2016. Hamilton: The Significance of the American Musical. Odyssey.
Petridis, Alexis. 2017. Break it down: how Hamilton mashed up musical theatre and hiphop. London: The Guardian.
Sietsema, Tom. 2018. Here’s why the Hamilton is one of the nation’s busiest restaurants. Washington Post.
Smith, Kyle. 2020. Is Hamilton Overrated? The National Review.
Soloski, Alexis. 2016. Sixteen ways Hamilton transformed theater – and the world. London: The Guardian.
Teeman, Tim. 2019. Debbie Allen, Dominique Morisseau, the sisters behind ‘Women of Color on Broadway,’ and others tell Tim Teeman about confronting racism, and shaping a future of inclusive theater. The Daily Report.
Umehira , Kylie. 2016. All Hammed Up: How Hamilton: An American Musical Addresses Post-Racial Beliefs. Boston: Boston University.
Watkins, S. Craig. Representing: Hip hop culture and the production of black cinema. University of Chicago Press, 2018.
[1] Michael., B. 2017. Hamilton review – revolutionary musical a thrilling salute to America’s immigrants. London: Guardian.
[2] Kyle., Smith. 2020. Is Hamilton Overrated? The National Review.
[3] Sarah. Churchwell.2016. Why Hamilton is making musical history. London: The Guardian.
[4] Chernow, Ron. Alexander Hamilton. Head of Zeus Ltd, 2016.
[5] Freeman, Hadley. 2018. The crown prince of Broadway talks politics, Hamilton, and Mary Poppins Returns. London: The Guardian.
[6] Broadway. 2020. Hamilton – Broadway Creative Team. The Broadway World.
[7] Miranda, Lin Manuel. 2017. Gmorning, Gnight!: Little Pep Talks for Me & You. Johhnny Sun Inc.
[8] Soloski, Alexis. 2016. Sixteen ways Hamilton transformed theater – and the world. London: The Guardian.
[9] Petridis, Alexis. 2017. Break it down: how Hamilton mashed up musical theatre and hip-hop. London: The Guardian.
[10] Ibid.
[11] Freeman, Hadley. 2018. The crown prince of Broadway talks politics, Hamilton, and Mary Poppins Returns. London: The Guardian.
[12] Miranda, Lin Manuel. 2017. Gmorning, Gnight!: Little Pep Talks for Me & You. Johhnny Sun Inc.
[13] Boyle, Antony. 2001. Eclipse Report: Developing Strategies to Combat Racism in Theatre. Arts Council.
[14] Keys, Alicia. 2016. The Hamilton Mixtape. Cond. Andy. Comp. Aron Pearce.
[15] Freeman, Hadley. 2018. The crown prince of Broadway talks politics, Hamilton, and Mary Poppins Returns. London: The Guardian.
[16] Major, Melisa. 2016. 7 Ways ‘Hamilton’ has Impacted America. PBS.
[17] Sietsema, Tom. 2018. Here’s why Hamilton is one of the nation’s busiest restaurants. Washington Post.
[18] Ogasawara, Rie. 2016. Hamilton: The Significance of the American Musical. Odyssey.
[19] Ibid
[20] Stovall, David. “We can relate Hip-hop culture, critical pedagogy, and the secondary classroom.” Urban Education 41, no. 6 (2006): 585-602.
[21] Watkins, S. Craig. Representing: Hip hop culture and the production of black cinema. University of Chicago Press, 2018.
[22] Bryer, Tania. 2017. Award-winning ‘Hamilton’ musical was ‘no overnight success,’ says creator Lin-Manuel Miranda. CNBC.
[23] Bryer, Tania. 2017. Award-winning ‘Hamilton’ musical was ‘no overnight success,’ says creator Lin-Manuel Miranda. CNBC.
[24] Diggs, David. 2016. “Hamilton”: A revolutionary musical. CBS News.
[25] Diggs, David. 2016. “Hamilton”: A revolutionary musical. CBS News.
[26] Kasinitz, Philip. “hamilton’s immigrant america.” Contexts 15, no. 3 (2016): 69-71.
[27] Harbert, Elissa. “Hamilton and History musicals.” American Music 36, no. 4 (2018): 412-428.
[28] Hogeland, William et al. Historians on Hamilton: How a Blockbuster Musical is Restaging America’s Past. Rutgers University Press, 2018.
