Hamilton: The Revolution

In 2009, Miranda was invited to the White House as the closing act in a celebration of American artists. Miranda was slated to perform a song from his Tony Award-winning musical In the Heights, which represented themes of immigration and multiculturalism that reflected the recently elected President Obama’s priorities. Instead, Miranda announced, “I’m actually working on a hip-hop album—a concept album—about the life of someone who embodies hip-hop. […] Treasury Secretary Alexander Hamilton” (15). The audience chuckled, but Miranda explained that Hamilton, a poor, orphaned immigrant who had become a founding father, showed how one person can effect change. Miranda performed the song “Alexander Hamilton” and received a standing ovation.

The company, led by Aaron Burr, asks how “a bastard, orphan, son of a whore” (16), growing up poor in the Caribbean, managed to become one of the founding fathers and the face on a 10-dollar bill. At age 10 and 12 respectively, his father left, and his mother became ill and died. A cousin briefly became his guardian but died by suicide. Alone, Hamilton fought to survive and educated himself. After a hurricane, Hamilton wrote about the devastation. Others noted his talent and collected money to send him to New York. Hamilton is headstrong and impatient, but he was just another immigrant and became the man who “rewrote the game” (17).

For two years, The Hamilton Mixtape was set aside while Miranda worked on other projects, married his wife, Vanessa, and turned 31. He was also performing with Freestyle Love Supreme, a hip-hop improv group. For a 2011 benefit performance, its members opted to perform songs that they had already written. Miranda debuted “My Shot,” the second song from the Mixtape. McCarter calls “My Shot” an “I want” song, a common musical theater trope in which the main character vocalizes the desire that will drive them throughout the play. McCarter describes rap as appropriate because it is “the music of ambition, the soundtrack of defiance,” and Hamilton, like a lot of rappers, “lived hard, wrote fast, and hustled his ass off” (21). The audience loved the song, and Tommy Kail, who directed the improv group and In the Heights, saw an opportunity. While Miranda was a talented, risk-taking performer, Kail was adept at recognizing and developing good ideas. Kail urged Miranda to finish the project, suggesting a small concert performance. However, Lincoln Center offered a much larger opportunity by inviting Miranda to perform in their American Songbook concert series. The performance was scheduled for January 11, which was also Hamilton’s birthday.

In New York City, 1776, Hamilton introduces himself to Burr. Burr graduated from Princeton in two years, and Hamilton seeks his advice to do the same so he can join the Revolution. Burr finished school quickly to fulfill his parents’ dying wish, and Hamilton eagerly notes that they’re both orphans. Hamilton wishes for a war so they can prove themselves. Burr invites Hamilton for a drink at a tavern where Laurens, Lafayette, and Mulligan are already drinking. To Hamilton’s surprise, Burr’s advice is to “talk less. […] Smile more. […] Don’t let them know what you’re against or what you’re for” (24). Meanwhile Laurens, Lafayette, and Mulligan demonstrate the opposite, ostentatiously rapping their introductions and professing excitement about the revolution. They invite Burr to join in, booing when he declines. With the revolution looming, Hamilton questions, “If you stand for nothing Burr, what’ll you fall for?” (25).

The trio immediately likes Hamilton, who raps: “I’m just like my country, I’m young, scrappy and hungry, and I’m not throwing away my shot!” (26). He describes himself as brilliant but rough at age 19. He dreams of an independent country, free from England. He has nothing but knows he’ll be in the history books. Lafayette, who is French, agrees that they must eliminate the monarchy and crows about his fighting ability. Mulligan, a tailor’s apprentice, sees fighting as his chance to distinguish himself. Laurens points out that they can’t be free until enslaved people are free, dreaming about leading a Black battalion. Burr agrees with them but urges them to be quiet lest they get killed. Hamilton is thrilled that four, like-minded people have found each other and says that when he’s excited, he isn’t quiet. Laurens suggests that they find Hamilton an audience, calling everyone to “rise up!” (28). Suddenly alone in a spotlight, Hamilton confesses, “I imagine death so much it feels more like a memory” (28), and that he always believed he’d be dead by age 20. Hamilton continues, now addressing a crowd. He pushes them to risk their lives for independence.

Famously, Miranda was inspired to write Hamilton by historian Ron Chernow’s biography, Alexander Hamilton (2004). Miranda asked him to be a historical consultant, explaining, “I want historians to take this seriously” (32). Chernow agreed, although much of the personal details about Hamilton’s habits and relationships were not in the historical record. Miranda identifies one of Chernow’s major contributions as giving Miranda the confidence to invent what needed to be invented. After Miranda and Chernow recollected a meeting differently, Miranda was delighted to realize that “history is entirely created by the person who tells the story” (33). Attending an early rehearsal, Chernow was surprised by the casting, not having considered that the medium of hip-hop made it logical to cast BIPOC actors, despite their historical counterparts being white men. Tommy Kail’s statement, “This is a story about America then, told by America now” (33), was oft repeated over the next few years, as Hamilton became a cultural phenomenon. Chernow agreed wholeheartedly with the casting, although he noted other historical inconsistencies, such as the timing of Hamilton meeting his three friends. Miranda acknowledged that he took creative license but argued that dramatically, Hamilton needed to meet them to build a cohesive relationship that would peak when they later fought together. Chernow conceded, although Miranda admitted later that he wasn’t sure if the choice was deliberate or if he simply forgot the history.

Hamilton leads Lafayette, Mulligan, and Laurens in a toast proclaiming that even if they don’t survive the coming battles, they are eager to join. When their children talk about them and the revolution, “they’ll tell the story of tonight” (35).

McCarter describes the significance of New York as central to Hamilton’s identity. Unlike George Washington, Thomas Jefferson, and John Adams, who all came from the country, Hamilton was both a quintessential “immigrant striver” (38) and an archetypal New Yorker—part of the reason that Adams couldn’t stand him. Miranda wrote “The Schuyler Sisters” as an ode to New York, Miranda’s hometown, calling it “the greatest city in the world” (38). New York in the musical becomes both Hamilton’s historical world and the city that exists right outside the theater, presenting a challenge for the scenic designer. David Korins imagined scenery that was more suggestive than literal, able to flow through the play’s many settings. Korins saw a country under construction, inspired by historical sites, the image of the unfinished capitol building, and the ships that brought the immigrants who created the cities. In “The Schuyler Sisters,” the music and ensemble create the frenzy of a New York City square, where people exchange ideas and pamphlets, “some idealized version of itself, independent of time, where people of many races and backgrounds dance together” (40).

Burr introduces Peggy, Angelica, and Eliza Schuyler, daughters of the wealthy Philip Schuyler. Rich people enjoy coming downtown to watch students and poor people talk and work. The sisters have snuck out of their father’s house. Peggy is anxious about rule-breaking, but Eliza and Angelica are excited to witness the start of the revolution. Burr flirts with them, but Angelica expresses their disinterest. She is seeking a “revelation” amid the revolution, quoting the Declaration of Independence’s assertion that “all men are created equal” (44), exclaiming that when she meets Jefferson, she will tell him to “include women in the sequel” (44). The sisters sing, “how lucky we are to be alive right now! History is happening in Manhattan, and we just happen to be in the greatest city in the world” (45).

Miranda’s 2012 Lincoln Center American Songbook performance was packed, including several influential figures in New York theater. First, Miranda performed songs by rappers who influenced him, then he proceeded with the 12 numbers he wrote for The Hamilton Mixtape. It was clear that the songs ought to be a Broadway musical. Later, Jeffrey Seller, who produced the hits Rent (1996), Avenue Q (2003), and Miranda’s In the Heights (2008), offered to produce Hamilton. Thus, the Lincoln Center concert was the start on the road to Broadway. Miranda states, “Just as we continue to forget that immigrants are the backbone of the country, we forget that musical theater is a mongrel art form” (47). Musical theater composers have always adapted popular musical idioms, such as jazz and rock, but no one had successfully used hip-hop. Hamilton mixes styles to indicate character, as in “The Farmer Refuted,” based on a real pamphlet war between farmer Samuel Seabury and Alexander Hamilton. As an English loyalist, Seabury sings in a traditional, classical waltz tempo, accompanied by a harpsichord, and Hamilton debates him in hip-hop counterpoint, merging two distinct styles.

Seabury urges colonists to forget thoughts of revolution, suggesting that the king will forgive them. Hamilton ignores Burr’s warning to stay quiet. Hamilton raps, “dismantl[ing] Seabury using the same vowels and cadences and talking over him” (49), arguing that England should not control their lives from across the ocean, and telling Burr that he would rather “be divisive than indecisive” (49). The ensemble interrupts, announcing a message from King George, who enters.

McCarter explains that Miranda writes music by recording demos rather than notating on sheet music. Therefore, Miranda’s orchestrator, Alex Lacamoire, turns these demos into songs that can be performed. Miranda first worked with Lacamoire, who is Cuban-American, as the orchestrator for In the Heights. Although Miranda has plenty of innovative musical ideas, he defers to Lacamoire as the superior musician and pianist with the ability to envision a song with full instrumentation. Lacamoire’s musicianship is particularly notable because he has been partially hearing-impaired his entire life. Miranda and Lacamoire collaborate closely, as in King George’s song, “You’ll Be Back,” which Miranda presented as lyrics with chord progressions. The idea of a British invasion inspired Lacamoire to think of the British invasion of the 1960s, and he modeled the sound after the Beatles. Both Miranda and Lacamoire were starstruck when Sir Paul McCartney attended a performance Off-Broadway and admired the vocal harmonies.

King George’s song is lyrical and upbeat, described by Miranda as “a breakup letter […] to the colonies” (57). King George laments, “The price of my love’s not a price that you’re willing to pay” and “Remember, despite our estrangement, I’m your man” (57). He promises to send armies, and “to kill your friends and family to remind you of my love” (57). At the end of the song, British soldiers enter in red-coated uniforms and kill one of the rebels.

From the musical’s conception, Miranda felt that George Washington needed to be a commanding presence, befitting his iconic role in history but also equally human. When Washington first appears in the song “Right Hand Man,” he’s “scrambling to stave off defeat, not coasting to glory” (58). One night, while waiting to go onstage during In the Heights, Miranda turned to Chris Jackson, his costar, and asked him to play Washington. Jackson, a “history buff” (58) who admired Washington, agreed immediately. Jackson had an aura of leadership both onstage and in the rehearsal room. Chernow, who also wrote a biography of George Washington, declared Jackson’s performance incredible. When Jackson enters each night as Washington, “a black man striding straight downstage” (59), the audience cheers.

The American army is beset by 32,000 British troops arriving in New York Harbor. Hamilton, flanked by Burr, Laurens, Mulligan, and Lafayette, swears to fight and possibly die. General George Washington enters, declaring that they are outnumbered and losing. He needs a right-hand man. Hamilton proposes stealing British cannons. The notes state that historically, Hamilton and Mulligan actually went on cannon-stealing raids. Washington is frustrated with the quality of his men, repeating that he needs a right-hand man. Burr introduces himself and offers his services and qualifications. Uninterested, Washington summons Hamilton and dismisses Burr. Washington comments that Hamilton has gained a name for himself by stealing cannons, but no one has convinced him to join their staff. Hamilton wants to fight, not to be a secretary. Washington replies that he also once had martyrdom fantasies but, “Dying is easy, young man. Living is harder” (64). Hamilton sees that this is his “shot” (64) and agrees, immediately getting to work.

Hamilton met Elizabeth (Eliza) Schuyler in 1780 at the army’s winter headquarters. She was rich and beautiful, and he was poor with no family, but they were engaged in less than a month. To describe their whirlwind romance, Miranda employed a common trope of early hip-hop, in which rappers recorded songs with women pop stars. Miranda compares “Helpless,” a duet between Eliza and Hamilton, to Beyoncé and Jay-Z’s “Crazy in Love” (2003).

Burr asks how an “arrogant loudmouth” with humble beginnings achieved such an important position “at the right hand of the father” (70), although he admits that Hamilton can write. Burr says that he and Hamilton are both popular with women. In 1780 at a winter ball for soldiers, Burr says that if Hamilton could marry a Schuyler sister, he’d be set for life. Hamilton replies, “Is it a question of if, Burr, or which one?” (71).

Eliza is helplessly in love. Angelica Schuyler attracts all the attention, but Eliza falls for Hamilton and tells Angelica that he is hers. Angelica brings Hamilton to Eliza and introduces them. They write daily letters for two weeks, then Hamilton asks Philip Schuyler for his blessing to marry her. After some suspense, he agrees. Hamilton raps that he doesn’t have much other than his mind and his position in the army, but her family has embraced him, and he promises that he will devote his life to making sure that she doesn’t feel helpless.