Introduction
Hamilton: An American Musical is a hip-hop and pop musical by Lin-Manuel Miranda that premiered Off-Broadway on February 17, 2015. The musical has become a theatrical phenomenon of historic proportions, reaching a staggering critical and commercial success (Herrera 83). The musical’s author was inspired to create it after reading Ron Chernov’s biography of Alexander Hamilton. Ron Chernov wrote the book intending to investigate American constitutional law and financial policy. Chernov considered Hamilton, a man who made a significant contribution to the development of the system as it is now. Miranda and Chernov worked together to create the production; the author was pleased with the stage adaptation.
The Musical’s Message
The musical’s latest messages continue to be relevant, linked to the Black Lives Matter movement. It is a bridge connecting America of the past and America of the present. The musical deals with the American national idea’s historical origins and expresses them through black actors’ rap performances (Goldmann 48). A parallel can be drawn between Hamilton, unlike his colonial contemporaries, and young New Yorkers. The mixed cast helps to highlight one of the themes raised in Hamilton: the American national identity goes far beyond the country’s borders. Miranda entirely created the musical; he is on the stage for a large part of the performance, and he wrote the script and music himself.
The Revolutionary Performance
An American Musical is not just about revolution; it itself is revolutionary, thanks to its inclusive cast and range of music from rap to blues. The musical gives a glimpse of what America was like in the past through the perception of America in the present and reflections on the future. The performance presents well-known facts about early American history; it appeals to public awareness of these events, thereby exacerbating the emotional impact on the viewer (Styrt 1). Alexander Hamilton’s character is an immigrant, who raises the issue that immigrants often need to work harder than others. Four friends, Hamilton, Lawrence, Mulligan, and Lafayette are young and eager to ignite a revolution to change the existing order. This parallels young Americans who dream of a brighter future and want their voices to be heard. Hamilton’s story is about legacy, how modern people want to leave the world for their children.
The Problems Raised
The musical draws attention to the problems of the time: the rights of the black population, migrants, and women. The stage performance encourages the idea that the America of the future depends on the people who live here and that all people are responsible for building this future. The idea of Miranda is multifaceted and makes the viewers think about the responsibility for the world in which Americans live. First, the musical calls to pay attention to the problems of protecting the rights of a significant part of the population. The entire musical expresses the American national idea, which was in the past and is in the present.
Conclusion
The musical is incredibly relevant, and in 2022, despite the public attention to the existing problems, they are not disappeared. Young people are now the main source of public opinion and the driving force behind progress. The musical makes the viewers think that the America of the future is the responsibility of all Americans. People create the environment around them, and modern society still must solve many problems to come to a bright future. The musical also inspires pride in America and great people who, despite everything, continue to fight to achieve a comfortable life for future generations.
Works Cited
Goldmann, Kerry L. “Hamilton and Historical Memory: An American Musical Raises the Curtain on Historical Trauma and Decolonization of American Identity.” The Hamilton Phenomenon. 2022, pp. 47-67.
Herrera, Patricia. “Hamilton: An American Musical by Lin Manuel-Miranda.” Theatre Journal vol. 73, no. 1, 2021, pp. 83-85. Web.
Styrt, Philip Goldfarb. “Toward a Historicism of Setting: Hamilton and American History.” Modern Drama vol. 61, no. 1, 2018, pp. 1-19. Web.