I may not be able to see the musical for a good year or so, but my God if it was possible to marry a soundtrack, I’d be the first in line. Seriously, I haven’t been this obsessed with a musical since I was twelve watching the Les Misérables 10th Anniversary show on PBS. But if you told me ten, five, even one year ago that one of my favorite albums ever would be the cast recording of a hip-hop musical about Alexander Hamilton I probably would’ve laughed in your hamilton-musicalface. Really hard. Like, rolling on the floor, gut-busting laughs that leave you breathless.

Don’t get me wrong, I find the Revolutionary era of American history fascinating, but that’s because I studied and specialized in the subject. The further we move away from the United States’ beginnings the harder it becomes to make the Founding Fathers relatable as flesh and blood men of their time. Instead, we venerate and idolize them for their virtues and great accomplishments while not-so-subtly sweeping their flaws and mistakes under the rug. We forget that for all their eloquence and statesmanship these were men subject to the same trappings of ambition, pride, lust, greed, and paranoia as the rest of us.

Enter Lin-Manuel Miranda and Ron Chernow’s 800-page biography of Alexander Hamilton. Coming off of his success for the musical In the Heights, which he received the Tony for Best Original Score, Miranda picked up Chernow’s book while on vacation and became inspired to tell Hamilton’s story. But what’s so inspiring about a man who modern audiences only know was killed in a duel and appears on the ten dollar bill? In Miranda’s mind not only is Hamilton’s life the immigrant’s story but the man’s tenacity, zeal, and naked ambition makes him a kindred spirit of modern day hip-hop artists like Tupac and Kanye West. After reading Chernow’s book, Miranda spent the next seven years working on the musical that originally started as the Hamilton Mixtape. The first inklings of the emerging musical came from Miranda’s performance of what would be the opening number at the White House in 2009.

It’s easy to laugh at the idea. Hamilton and hip-hop don’t exactly overlap no matter how refined you make the Venn diagram. But when you move past the conceit of the musical and listen to the actual music, it all begins to make sense. Hip-hop and rap are, at their core, about self-aggrandizement, hyperbole, and passion and when one looks at the writings produced by the Founders those same core tenets materialize. They wrote for posterity’s sake, with history in mind, and men like Hamilton could rise or fall by the strength of their words. To win was to have the most convincing argument, which also meant destroying the argument of your opponent through cleverness and rhetoric. Tell me that doesn’t sound like a rap battle. In fact, there are two moments where the old school rap battle serves as the delivery method for cabinet debates between Hamilton and Jefferson. They are, by far, my favorite pieces for the Hamilton-Lafayette-Mulligan-Laurenssheer amount of history covered through amazing lyrical dexterity. I could listen to Lin-Manuel Miranda and Daveed Diggs battle all day as Hamilton and Jefferson. All. Day.

But the Hamilton soundtrack, produced by Questlove and Black Thought of The Roots, is more than just hip-hop. It’s the best fusions of R&B, jazz, rap, soul, pop, and traditional Broadway, but above all else it’s filled to the brim with energy. And therein lies the strength of the musical. The frenetic nature of hip-hop propels the story, making Hamilton and the rest of the Founders dynamic and active participants in the creation of the American experiment. These aren’t the stuffy white men of static images in history books, these are living, breathing revolutionaries looking for a fight, a cause, to improve their lives and prove themselves to the rest of the world. It’s also worth noting that the entire main cast is intentionally composed of people of color. As Miranda puts it Hamilton is “the story of America then told by America now.”

And at the center of it is Alexander Hamilton, played by Miranda, and the amazing cast bringing George Washington (Christopher Jackson), Thomas Jefferson and the Marquis de Lafayette (both played by Daveed Diggs), and Aaron Burr to life. Using Burr (Leslie Odom, Jr.) as the musical’s narrator, Hamilton follows the youngest Founding Father from his revolutionary beginnings to his untimely end. Miranda and company present a man who lived like every day might be his last, a man obsessed with glory and legacy as the only means of proving himself and rising above his lowly origins. But Hamilton isn’t just the immigrant story, it’s the story of American politics, which haven’t changed all that much, and the flawed men in power.washington

As someone who has studied the Revolution, I appreciate Hamilton‘s approach to the Founders. Framed within the context of “who lives, who dies, who tells your story,” the musical neither condemns nor condones the behavior of Hamilton, Burr, Jefferson, Madison, and Washington. They all get their moments to shine, but they’re also undercut by their own arrogance and insecurities. The exception might be Washington. Commander, president, and father figure, Washington still retains an air of heightened reverence but the song “Right Hand Man” does a brilliant job of articulating Washington’s frustration with Congress and his own soldiers while “History Has Its Eyes on You” brings out his gentle, compassionate side beautifully encapsulated in Chris Jackson’s voice. Hamilton, however, is as much at fault for his own ruin, “The Reynolds Pamphlet”, as the people out to destroy him politically. And while Hamilton and Burr’s duel is an inevitability the road towards that confrontation is paved by two lives that intersect and parallel at key moments. And yet, at every turn, we get a reminder of Hamilton’s looming death. Whether it’s in the subtle reverberations of gun shots at the end of specific songs or Hamilton’s personal mantra of “I am not throwin’ away my shot!” we know what’s coming.

Hamilton Richard Rodgers Theatre Cast Lin-Manuel Miranda Alexander Hamilton Javier Muñoz Alexander Hamilton Alternate Carleigh Bettiol Andrew Chappelle Ariana DeBose Alysha Deslorieux Daveed Diggs Marquis De Lafayette Thomas Jefferson Renee Elise Goldsberry Angelica Schuyler Jonathan Groff King George III Sydney James Harcourt Neil Haskell Sasha Hutchings Christopher Jackson George Washington Thayne Jasperson Jasmine Cephas Jones Peggy Schuyler Maria Reynolds Stephanie Klemons Emmy Raver-Lampman Morgan Marcell Leslie Odom, Jr. Aaron Burr Okieriete Onaodowan Hercules Mulligan James Madison Anthony Ramos John Laurens Phillip Hamilton Jon Rua Austin Smith Phillipa Soo Eliza Hamilton Seth Stewart Betsy Struxness Ephraim Sykes Voltaire Wade-Green Standby: Javier Muñoz (Alexander Hamilton) Production Credits: Thomas Kail (Director) Andy Blankenbuehler (Choreographer) David Korins (Scenic Design) Paul Tazewell (Costume Design) Howell Binkley (Lighting Design) Other Credits: Lyrics by: Lin-Manuel Miranda Music by: Lin-Manuel Miranda Book by Lin-Manuel Miranda

The women of Hamilton, though, are not to be ignored. Alexander Hamilton’s relationship with the Schuyler sisters may have been complicated but the musical uses that complexity to bring out the romance and tragedy in their history. Renée Elise Goldsberry is amazing as Angelica Schuyler-Church, the eldest and most intellectually profound of the sisters. In “The Schuyler Sisters” Goldsberry brings out the fun and youthful exuberance of Angelica’s search for a “mind at work” while “Satisfied” exposes her love for Hamilton and her dueling feelings of regret and happiness for his marriage to her sister Eliza. Phillipa Soo, though, is inspiring as Eliza Schuyler-Hamilton. Kind and supportive of her husband, her desire to “be part of the narrative” takes a tragic turn in the wake of the Reynolds Affair. The song “Burn” makes your heart break for her as she condemns her husband’s words and denies history access to her heart and mind. It’s a poignant commentary on the lack of documentation from Eliza concerning the affair and Soo brings such raw sadness and anger that it’s hard not to imagine the reality of Mrs. Hamilton’s circumstances.

This is all to say that I love, Love, LOVE this soundtrack and I wouldn’t be surprised if Hamilton wins all of the Tonys! Miranda has also mentioned that there are plans to film the musical, which I believe should be done as soon as possible. Not only does it put Hamilton into the homes of people who don’t have access to or can’t afford to see Broadway shows but it could be utilized by schools as a new way to teach kids about the American Revolution.

So raise a glass, people, and join me in my love for Hamilton!

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