The last two decades have seen a notable increase in the diversity we see in Broadway productions. This diversity comes in several forms: the actors and actresses on stage, the characters, and the musical influences driving these new, original musicals. Rap and hip hop, specifically, are making a name for themselves on the stage.
What is
Broadway?
When discussing theatre,"Broadway" refers to the forty-one professional theatres with the capacity to seat more than 500 audience members. Likewise, "Off-Broadway" is a term for theatres with 100-499 seating capacity. This isn't always a hard and fast rule; it can depend on contracts held by the individual theatres. Most of 41 Broadway theatres are located in the Theatre District of Manhattan, New York and, to the confusion of some, only three of these theatres are actually on Broadway Street.
The bigger audiences in the Broadway theatres are the reason the musicals staged there enter into the mainstream so quickly. Additionally, Broadway is often associated with quality: "if it's on Broadway it must be good."
Although it didn't start this way, through years of mimicking and taking inspiration from the musicals of before, theatre music, or showtunes, have become their own genre. Typically, songs in a musical are narrative orchestral pieces or opera like fermatas with harmonies from an ensemble of trained singers. This means that anything different stands out, like the inclusion of hip hop into musical theatre.
What is
Hip Hop?
Hip Hop emerged in the early 1970s in the inner-city African American communities of the South Bronx and Harlem when DJs developed new ways to spin records. For example, Kool Herc played only the most percussive sections of a track, also known as the break-beat, which b-boys and b-girls would break dance to. Other hip hop DJs created new and strange combinations of records in an effort to out do each other. Soon, DJs transformed turntables from simple music players to instruments in their own right. The crossfader was introduced: a device that connected two turntables while allowing DJs to control the sound coming from each independently. Grandmaster Flash broke typical DJ form by placing his hands on the records, marking the vinyl where break-beat started and ended to smoothly transition between two records with no space between. Grand Wizard Theodore masterminded scratching records, a technique where the record is moved back and forth under the needle. As hip hop increased in popularity, DJs enlisted MCs to provide vocal entertainment for their audiences. MCs developed their own unique styles, which became known as rapping.
The first commercially recorded rap was released in 1979 and hip hop began entering the mainstream in the 1980s. Films such as and helped make a wider audience aware of hip hop and in 1984, KDAY dedicated itself as the first rap only radio station.
While the beginnings of rap were feel-good music meant to hype up the crowd, political and socially conscious rap has been present just as long and the mid-1980s saw an increase in the number of rap artists including themes of violence and systematic oppression in their lyrics. Rap from Los Angeles rappers reflected the reality of gang violence and drug trafficking in African American communities, coming to be known as gangsta rap. Across the country, in Long Island, Public Enemy (PE) wrote advanced political and social commentary into their raps and situated themselves among black leaders such as Malcom X and Nelson Mandela.
Rap has continued to evolve, splitting into subcategories and recombining as political and social circumstances changed and white artists entered the genre. However, these topics have not been abandoned by contemporary rappers and they produce music that reflects their realities. Jay-Z's rap in "Apeshit" is one example.
Hip Hop
Theatre
"Hip hop theatre is theatre that uses and investigates the relationship to hip hop. This can be done through hip hop's form or content. The form includes the four elements, namely break dancing, graffiti, MC-ing and DJ-ing. Here hip hop provides the base for the language used - the character speaks in rhyming verse/rap."
-Will Power, co-creator of hip hop theatre
Hip hop theatre is a relatively new genre compared to tradition forms of theatre. This form takes elements of hip hop culture and uses them to craft theatrical productions. Proponents of hip hop theatre stress that it's about inclusion, unity, and providing a voice for the voiceless.
Since the late 1990s, musicals have been incorporating some hip hop and rap. However only two Broadway musicals use them as a basis for the entire show and fit into Power's definition of hip hop theatre: In the Height and Hamilton.
Overview
In the Heights is an original musical written by Quiara Alefría Hudes with music and lyrics by Lin-Manuel Miranda. It tells the story of a tight-knit Latinx community in the Washington Heights neighborhood of Manhattan, featuring Usnavi, a bodega owner; Nina, returning from her first year at Stanford, and her parents; Abuela Claudia, the neighborhood matriarch; Daniela, a salon owner and her employee Vanessa; and Benny, a car dispatcher.
In the Heights enjoyed success off Broadway before transferring in 2008, where it opened on March 9, running until January 9, 2011 totaling 1,185 performances. Over these three years, In the Heights grossed a total of $105,302,946.
To reflect the ethnicity of the characters, the music is heavily Latin inspired with Spanish lyrics. Along with the hip hop elements, rap tracks, and ethnic cast, this musical brings diversity to the Broadway stage in many forms. After accepting the Tony for Best Score, Miranda stated his goal was to bring popular music and theatre music back together.
Success
In the Heights topped the 61st Annual Tony Awards nominations with 11. Though it won 4 of these categories, it ranked third for most awards. It was also nominated for the 2009 Pulitzer Prize for Drama.
Best Orchestrations
Winner
Best Scenic Design of a Musical
Nominee
Best Costume Design of a Musical
Nominee
Best Lighting Design of a Musical
Nominee
Best Sound Design of a Musical
Nominee
Best Musical
Winner
Best Book of a Musical
Nominee
Best Original Score Written for the Theatre
Winner
Best Actor in a Musical
Nominee
Best Featured Actor in a Musical
Nominee
Best Featured Actress in a Musical
Nominee
Best Choreography
Winner
Best Direction of a Musical
Nominee
Song Analysis: from "96,000" by Lin-Manuel Miranda
96, 000...
Damn...
96, 000...
Dollas? Holla.
96, 000...
Yo, somebody won!
96, 000...
Yo...
If I won the lotto tomorrow
Well I know
I wouldn't bother going on no spending spree
I'd pick a business school and pay the entrance fee
Then maybe, if you're lucky, you'll stay friends with me.
I'll be a business man,
Richer than Nina's daddy,
Donald Trump and I on the links,
And he's my caddy
My money's making money, I'm going from po' to moto
Keep the bling, I want the brass ring like Frodo!
Oh no, there goes Mr. Braggadocio
Next thing you know, you're lying like Pinocchio
Well if you're scared of the bull, stay out of the rodeo!
Yo, I got more hoes than a phone book in Tokyo!
Ooh, you'd better stop rappin'
You're not ready
It's gonna get hot and heavy and you're already sweaty-
Y-y-yo-yo
Yo, I'm sorry, was that an answer?
Shut up, go home and pull your damn pants up!
As for you, Mr. Frodo of the Shire, 96 G's ain't enough to retire
I'll have enough to knock your ass of its axis!
You'll have a knapsack full of jack after taxes!
96, 000!
Ay, alabanza!
96, 000!
No me diga!
96, 000!
I never win shit!
96, 000!
For real, though,
Imagine how it must feel going real slow
Down the highway of life
With no regrets
And no breaking your neck for respect or a paycheck
For real, though, I'll take a break from the wheel
And we'll throw the biggest block party, everybody here
It's a weekend when we can breathe, take it easy
Yo! ma, it's me, check my tickets!
Check one two three what would you do with 96 G's?
Who, me?
I mean, if it's just between you and me-
Esa pregunta es tricky!
I know!
With 96 G,
I'd start my life with a brand new lease
Atlantic City with a Malibu breeze
And a brand new weave-
Or maybe just bleach...
Y'all are freaks
Yo, I'm just sayin...
It's silly when we get into
These crazy hypotheticals
You really want some bread
Then go ahead and create a set of goals
And cross them off the list as you pursue 'em
And with those 96 I know precisely what I'm doing
What you doing?
What am I doing? What am I doing?
It takes most of that cash just to save my ass from financial ruin
Sonny can keep the coffee brewin'
And I'll spend a few on you
Cause the only room with a view's a room with you in it
And I could give Abuela Claudia the rest of it
Just fly me down to Puerta Plata, I'll make the best of it
You really love this business?
No.
Tough, Merry Christmas.
You're now the youngest tycoon in Washington hiznits.
Yo!
With 96, 000, I'd finally fix housing
Give the barrio computers and wireless web browsing
Your kids are living without a good edumacation change the station,
Teach them about gentrification, the rent is escalating
What?
The rich are penetrating
What?
We pay our corporations
When we should be demonstrating
WHAT?!
What about immigration?
What?
Politicians be hating
What?
Racism in this nation's gone
From latent to blatant!
OOOH!
I'll cash my ticket and picket, invest in protest
Never lose my focus till the
City takes notice
And you know this, man! I'll never sleep
Because the ghetto has a million promises for me to keep!
...
96, 000...
Damn...
96, 000...
Dollas? Holla.
96, 000...
Yo, somebody won!
96, 000...
Yo...
If I won the lotto tomorrow
Well I know
I wouldn't bother going on no spending spree
I'd pick a business school and pay the entrance fee
Then maybe, if you're lucky, you'll stay friends with me.
I'll be a business man,
Richer than Nina's daddy,
Donald Trump and I on the links,
And he's my caddy
My money's making money, I'm going from po' to moto
Keep the bling, I want the brass ring like Frodo!
Oh no, there goes Mr. Braggadocio
Next thing you know, you're lying like Pinocchio
Well if you're scared of the bull, stay out of the rodeo!
Yo, I got more hoes than a phone book in Tokyo!
Ooh, you'd better stop rappin'
You're not ready
It's gonna get hot and heavy and you're already sweaty-
Y-y-yo-yo
Yo, I'm sorry, was that an answer?
Shut up, go home and pull your damn pants up!
As for you, Mr. Frodo of the Shire, 96 G's ain't enough to retire
I'll have enough to knock your ass of its axis!
You'll have a knapsack full of jack after taxes!
96, 000!
Ay, alabanza!
96, 000!
No me diga!
96, 000!
I never win shit!
96, 000!
For real, though,
Imagine how it must feel going real slow
Down the highway of life
With no regrets
And no breaking your neck for respect or a paycheck
For real, though, I'll take a break from the wheel
And we'll throw the biggest block party, everybody here
It's a weekend when we can breathe, take it easy
Yo! ma, it's me, check my tickets!
Check one two three what would you do with 96 G's?
Who, me?
I mean, if it's just between you and me-
Esa pregunta es tricky!
I know!
With 96 G,
I'd start my life with a brand new lease
Atlantic City with a Malibu breeze
And a brand new weave-
Or maybe just bleach...
Y'all are freaks
Yo, I'm just sayin...
It's silly when we get into
These crazy hypotheticals
You really want some bread
Then go ahead and create a set of goals
And cross them off the list as you pursue 'em
And with those 96 I know precisely what I'm doing
What you doing?
What am I doing? What am I doing?
It takes most of that cash just to save my ass from financial ruin
Sonny can keep the coffee brewin'
And I'll spend a few on you
Cause the only room with a view's a room with you in it
And I could give Abuela Claudia the rest of it
Just fly me down to Puerta Plata, I'll make the best of it
You really love this business?
No.
Tough, Merry Christmas.
You're now the youngest tycoon in Washington hiznits.
Yo!
With 96, 000, I'd finally fix housing
Give the barrio computers and wireless web browsing
Your kids are living without a good edumacation change the station,
Teach them about gentrification, the rent is escalating
What?
The rich are penetrating
What?
We pay our corporations
When we should be demonstrating
WHAT?!
What about immigration?
What?
Politicians be hating
What?
Racism in this nation's gone
From latent to blatant!
OOOH!
I'll cash my ticket and picket, invest in protest
Never lose my focus till the city takes notice
And you know this, man! I'll never sleep
Because the ghetto has a million promises for me to keep!
...
"96,000" is a number performed when the characters learn that somebody in their community purchased the winning lottery ticket from Usnavi's bodega. This song bounces between the main characters as they tell each other what they would do with $96,000.
Rhyme
There are several types of rhymes throughout this song. Exact rhymes refer to those with matching ending sounds. We see several of these in pairs, triples, or even extending for several lines, such as "daddy" and "caddy" or "Pinocchio", "rodeo" and "Tokyo." Similarly, there are slant rhymes: rhymes that sound similar without being exact. For example, "lease" and "breeze." This rap also makes use of internal rhymes, which are rhymes that occur within the line of a poem/song. This is seen almost immediately with "dollas" and "holla" as well as "lotto" and "tomorrow."
Layering multiple types of rhymes over the Latin-inspired beat creates a complex rhythm that holds attention.
Figurative Language
Similes are comparisons using 'like' or 'as.' There are a handful of examples in these lyrics, including "lying like Pinocchio."
Metonymy is giving a description of something using concepts or objects associated with what you want to describe. An example is "you really want some bread,"
bread referring to money. This comes from 'dough' as a slang term for money, as well as the concept of a breadwinner.
Using figurative language engages the audience, provides more insight into the characters, and adds complexity to the rap.
Content
While the premise of this song is rather lighthearted, joking about being rich with friends, the lyrics reflect the realistic reality of the political and social situation these characters live in. For example, economic inequality is addressed at different points throughout the song. The first mention ("it takes most of the [96,000] to save my ass from financial ruin") demonstrates that the characters have a personal need for money while the second ("gentrification, the rent is escalating") reveals the financial difficulties of the community. Further, the lyrics directly call out racism against immigrants in America.
Discussing these topics, like many hip hop artists have done before, links the musical to a tradition in hip hop concerned with the social and political climate.
Original Broadway Cast
Grafitti Pete......................................................SETH STEWART
Usnvai.................................................LIN-MANUEL MIRANDA
Piragua Guy.....................................................ELISEO ROMAN
Abuela Claudia................................................OLGA MEREDIZ
Carla....................................................................JANET DACAL
Daniela...........................................................ANDREA BURNS
Kevin...............................................................CARLOS GOMEZ
Camila............................................................PRISCILLA LOPEZ
Sonny..............................................................ROBIN DE JESUS
Benny..................................................CHRISTOPHER JACKSON
Vanessa..................................................................KAREN OLIVIO
Nina .............................................................MANDY GONZALEZ
Ensemble ......................................................TONY CHIROLDES, ROSIE LANI FIELDMAN, JOSHUA HENRY, AFRA HINES, NINA LAFARGA, DOREEN MONTVALO, JAVIER MUNOZ, KRISTA RODRIGUEZ, ELISEO ROMAN, LUIS SALGADO, SHAUN TAYLOR-CORBETT, RICKY TRIPP
Overview
Hamilton is an original musical written by Lin-Manuel Miranda: book, music, and lyrics. It is the dramatization of Alexander Hamilton, one of the founding fathers of the United States, based on the content from the biography by Ron Chernow. This production leads the audience through the life of Alexander Hamilton and his relationships with Eliza Hamilton, John Laurens, George Washington, and Aaron Burr.
Hamilton's cast is made almost entirely of people of color, earning the producers praise. This musical is also unique in that the story is told almost exclusively through song; the run time is roughly two hours and forty-five minutes and the soundtrack is only twenty minutes shorter.
Success
Hamilton secured 11 wins at the 69th Annual Tony Awards, multiple of the shows cast members being nominated for a few of the same categories. Lin-Manual Miranda was awarded the Pulitzer Prize for Drama for the Hamilton book. Additionally, the soundtrack recorded by the original Broadway cast was awarded a Grammy for Best Musical Theatre Album, has stayed in the Billboard 200 for the last four years, and was certified seven times platinum.
Hamilton opened on Broadway August 6, 2015 and has yet to close. As of March 2020, the musical has grossed $649,868,674, 1,908 performances, and the average audience capacity per show is 101.66%.
Best Choreography
Winner
Best Book of a Musical
Winner
Best Actor in a Musical
Winner, 1 Nominee
Best Featured Actor in a Musical
Winner, 2 Nominees
Best Lighting Design of a Musical
Winner
Best Musical
Winner
Best Orchestrations
Winner
Best Costume Design of a Musical
Winner
Best Featured Actress in a Musical
Winner
Best Scenic Design of a Musical
Nominee
Best Direction of a Musical
Winner
Best Original Score Written for the Theatre
Winner
Song Analysis: from "My Shot" by Lin-Manuel Miranda
I am not throwing away my shot!
I am not throwing away my shot!
Hey yo, I'm just like my country
I'm young, scrappy and hungry
And I'm not throwing away my shot!
I'ma get a scholarship to King's College
I prob'ly shouldn't brag, but dag, I amaze and astonish
The problem is I got a lot of brains but no polish
I gotta holler just to be heard
With every word, I drop knowledge!
I'm a diamond in the rough, a shiny piece of coal
Tryin' to reach my goal. My power of speech: unimpeachable
Only nineteen but my mind is older
These New York City streets get colder, I shoulder
Ev'ry burden, ev'ry disadvantage, I have learned to manage
I don't have a gun to brandish, I walk these streets famished
The plan is to fan this spark into a flame
But damn, it's getting dark, so let me spell out the name
I am the A-L-E-X-A-N-D-E-R
we are meant to be...
A colony that runs independently
Meanwhile, Britain keeps shittin' on us endlessly
Essentially, they tax us relentlessly
Then King George turns around, runs a spending spree
He ain't ever gonna set his descendants free
So there will be a revolution in this century
Enter me!
(He says in parentheses)
Don't be shocked when your hist'ry book mentions me
I will lay down my life if it sets us free
Eventually, you'll see my ascendancy
And I am not throwing away my shot
I am not throwing away my shot
Hey yo, I'm just like my country
I'm young, scrappy and hungry
And I'm not throwing away my shot
It's time to take a shot!
I dream of life without a monarchy
The unrest in France will lead to 'onarchy?
'Onarchy? How you say, how you s—OH 'anarchy?'
When I fight, I make the other side panicky
With my—
Shot!
Yo, I'm a tailor's apprentice
And I got y'all knuckleheads in loco parentis
I'm joining the rebellion cuz I know it's my chance
To socially advance, instead of sewin' some pants!
I'm gonna take a—
Shot!
But we'll never be truly free
Until those in bondage have the same rights as you and me
You and I. Do or die. Wait 'til I sally in
On a stallion with the first black battalion
Have another—
Shot!
Geniuses, lower your voices
You keep out of trouble and you double your choices
I'm with you, but the situation is fraught
You've got to be carefully taught:
If you talk, you're gonna get shot!
Burr, check what we got
Mister Lafayette, hard rock like Lancelot
I think your pants look hot
Laurens, I like you a lot
Let's hatch a plot blacker than the kettle callin' the pot...
What are the odds the gods would put us all in one spot
Poppin' a squat on conventional wisdom, like it or not
A bunch of revolutionary manumission abolitionists?
Give me a position, show me where the ammunition is!
Oh, am I talkin' too loud?
Sometimes I get over-excited, shoot off at the mouth
I never had a group of friends before
I promise that I'll make y'all proud
Let's get this guy in front of a crowd
I am not throwing away my shot
I am not throwing away my shot
Hey yo, I'm just like my country
I'm young, scrappy and hungry
And I'm not throwing away my shot
Ev'rybody sing:
Whoa, whoa, whoa
Hey!
Ay, let 'em hear ya! (Yeah)
Let's go! (Whoa, whoa, whoa)
I said shout it to the rooftops! (Whoa)
Said, to the rooftops! (Whoa)
Come on, let's go!
Rise up!
When you're living on your knees, you rise up
Tell your brother that he's gotta rise up
Tell your sister that she's gotta rise up
When are these colonies gonna rise up? (Whoa, whoa, whoa)
Rise up!
I imagine death so much it feels more like a memory
When's it gonna get me?
In my sleep? Seven feet ahead of me?
If I see it comin', do I run or do I let it be?
Is it like a beat without a melody?
See, I never thought I'd live past twenty
Where I come from some get half as many
Ask anybody why we livin' fast and we laugh, reach for a flask
We have to make this moment last, that's plenty
Scratch that
...
I am not throwing away my shot!
I am not throwing away my shot!
Hey yo, I'm just like my country
I'm young, scrappy and hungry
And I'm not throwing away my shot!
I'ma get a scholarship to King's College
I prob'ly shouldn't brag, but dag, I amaze and astonish
The problem is I got a lot of brains but no polish
I gotta holler just to be heard
With every word, I drop knowledge!
I'm a diamond in the rough, a shiny piece of coal
Tryin' to reach my goal. My power of speech: unimpeachable
Only nineteen but my mind is older
These New York City streets get colder, I shoulder
Ev'ry burden, ev'ry disadvantage, I have learned to manage
I don't have a gun to brandish, I walk these streets famished
The plan is to fan this spark into a flame
But damn, it's getting dark, so let me spell out the name
I am the A-L-E-X-A-N-D-E-R
we are meant to be...
A colony that runs independently
Meanwhile, Britain keeps shittin' on us endlessly
Essentially, they tax us relentlessly
Then King George turns around, runs a spending spree
He ain't ever gonna set his descendants free
So there will be a revolution in this century
Enter me!
(He says in parentheses)
Don't be shocked when your hist'ry book mentions me
I will lay down my life if it sets us free
Eventually, you'll see my ascendancy
And I am not throwing away my shot
I am not throwing away my shot
Hey yo, I'm just like my country
I'm young, scrappy and hungry
And I'm not throwing away my shot
It's time to take a shot!
I dream of life without a monarchy
The unrest in France will lead to 'onarchy?
'Onarchy? How you say, how you s—OH 'anarchy?'
When I fight, I make the other side panicky
With my—
Shot!
Yo, I'm a tailor's apprentice
And I got y'all knuckleheads in loco parentis
I'm joining the rebellion cuz I know it's my chance
To socially advance, instead of sewin' some pants!
I'm gonna take a—
Shot!
But we'll never be truly free
Until those in bondage have the same rights as you and me
You and I. Do or die. Wait 'til I sally in
On a stallion with the first black battalion
Have another—
Shot!
Geniuses, lower your voices
You keep out of trouble and you double your choices
I'm with you, but the situation is fraught
You've got to be carefully taught:
If you talk, you're gonna get shot!
Burr, check what we got
Mister Lafayette, hard rock like Lancelot
I think your pants look hot
Laurens, I like you a lot
Let's hatch a plot blacker than the kettle callin' the pot...
What are the odds the gods would put us all in one spot
Poppin' a squat on conventional wisdom, like it or not
A bunch of revolutionary manumission abolitionists?
Give me a position, show me where the ammunition is!
Oh, am I talkin' too loud?
Sometimes I get over-excited, shoot off at the mouth
I never had a group of friends before
I promise that I'll make y'all proud
Let's get this guy in front of a crowd
I am not throwing away my shot
I am not throwing away my shot
Hey yo, I'm just like my country
I'm young, scrappy and hungry
And I'm not throwing away my shot
Ev'rybody sing:
Whoa, whoa, whoa
Hey!
Ay, let 'em hear ya! (Yeah)
Let's go! (Whoa, whoa, whoa)
I said shout it to the rooftops! (Whoa)
Said, to the rooftops! (Whoa)
Come on, let's go!
Rise up!
When you're living on your knees, you rise up
Tell your brother that he's gotta rise up
Tell your sister that she's gotta rise up
When are these colonies gonna rise up? (Whoa, whoa, whoa)
Rise up!
I imagine death so much it feels more like a memory
When's it gonna get me?
In my sleep? Seven feet ahead of me?
If I see it comin', do I run or do I let it be?
Is it like a beat without a melody?
See, I never thought I'd live past twenty
Where I come from some get half as many
Ask anybody why we livin' fast and we laugh, reach for a flask
We have to make this moment last, that's plenty
Scratch that
...
"My Shot" is the third song of the musical and establishes the main characters' ambitions and motivations.
Rhyme
Several categories of rhyme are present in this rap: exact rhymes, slant rhymes, and internal rhymes. The exact rhymes are most prevalent at the end of lines, such as "flame" and "name" or "free" and "spree." The slant rhymes in this piece are many and vary in what sound is rhyming. With the pair "college" and "astonish" the rhyme is in the ending consonants, while in "amaze" and "brain" it's in the stressed vowel in the middle. The number of internal rhymes present is overwhelming.
The rhythm created by the rhymes combined with the diction create an enrapturing sound. The strong language used keeps the audience engaged and anticipating the next rhyme.
Figurative Language
This rap makes use of several idioms to convey its message. Two examples are "I'm a diamond in the rough" and "I'll fan this spark into a flame." Both of these contain evocative imagery that makes listening an experience for the audience.
This piece also carries a metaphor with "throwing away my shot." Instead of the literal meaning, the colloquial is used, meaning an opportunity. This keeps the message of the song clear to the audience while also providing a place for word play. Something that reappears at multiple pivotal moments throughout the musical.
Content
This song discusses several political and social issues that were relevant in the 1770s, the American Revolution and how the British treated the American colonies chief among them. The audience also learns about the dangers of being a revolutionary. The issue of social/economic class is references multiple times, first from Alexander ("I walk these streets famished"), then from Hercules Mulligan, describing his job. Slavery/abolition is also addressed, along with the discontent in France that led to the French Revolution.
The content of this rap works on many levels. It serves to inform the audience about the historical context the musical takes place in as well as assist with the development of the characters. The societal problems presented, such as economic inequality and racism, are also relatable to some in the audience and not so complex as to only apply to the late eighteenth century.
This musical also situates itself in the tradition of political and social awareness in hip hop.
Original Broadway Cast
Alexander Hamilton..................................LIN-MANUEL MIRANDA
Eliza Hamilton.............................................................PHILLIPA SOO Aaron Burr............................................................LESLIE ODOM, JR.
Angelica Schuyler................................RENEE ELISE GOLDSBERRY
Lafayette/Thomas Jefferson......................................Daveed Diggs
Mulligan/John Adams.........................OKIERIETE ONAODOWAN
Laurens/Philip Hamilton....................................ANTHONY RAMOS
Peggy Schuyler/Maria Reynolds........................JASMINE CEPHAS JONES
King George ....................................................JONATHAN GROFF
Philip Schuyler/James Reynolds/Doctor .................SYDNEY JAMES HARCOURT
Samuel Seabury ................................................THAYNE JASPERSON
Charles Lee..............................................................................JON RUA
George Eacker............................................................EPHRAIM SYKES
Ensamble..............................................................CARLEIGH BETTIOL, ARAIANA DEBOSE, HOPE EASTERBROOK, SYDNEY JAMES HARCOURT, SASHA HUTCHNIGS, THAYNE JASPERSON, ELIZABETH JUDD, JON RUA, AUSTIN SMITH, SETH STEWART, EPHRAIM SYKES
Conclusion
What makes these musicals successful?
Diversity
Despite the strides made since the founding of America, there are still marginalized populations calling for equality. The systemic oppression and exclusion these populations face is so ingrained in society that we often forget the question the lack of representation in certain areas, one of which is theatre.
In the Heights sported a Latinx cast to play Latinx character who spoke Spanish. This might seem like an obvious choice, however there is a history of whitewashing in both the theatre world and Hollywood. Additionally, there is pushback from the American public when confronted with a language they don't speak. Despite the United States not having an official language, demands are often made that people learn and speak English, and complaints emerge when entertainment is not in English.
Hamilton took this a step further, an overwhelming majority of the cast being people of color, even though the characters they are playing were white. This decision was celebrated as it put POC actors in the spotlight and gave some of them a strong Broadway debut.
Diversity also comes in the music, from the rap and hip hop inspired music.
A Return to our Roots
Theatre during Shakespeare's time was different from the concept of theatre we have today. For one, it was seen as a way to show how witty you were and how well you used language. This is apparent in Shakespeare's works which are filled with puns and double entendres.
Lin Manuel-Miranda exhibits these values in the lyrics for both In the Heights and Hamilton. Miranda uses elevated language and rhyme to highlight the vocal dexterity of the actors on stage. Some of the lyrics are even reminiscent of Shakespeare. For example, near the end of "My Shot" (lyrics not present above), Hamilton contemplates death in a similar manner to Hamlet in his soliloquy, "To be or not to be." Like Shakespeare, Miranda doesn't shy away from the "obscene," sex. Innuendoes can be seen in In the Heights, during "No Me Diga," as two characters mention Benny's "big taxi" and "stretch limousine." Likewise, in Hamilton, a number in the second act reveals the juicy details of the nations first sex scandal, Hamilton's affair with Maria Reynolds.
Several have called Miranda the modern Shakespeare, and perhaps they are on to something.
The Current Political Climate
At least for Hamilton, the political climate of the United States could explain the musical's popularity. Politics in the U.S. have gotten increasingly polarized over the last decades, something only made worse by the competitive campaigns launched by politicians attacking their enemies. Seeing the struggle for freedom provides hope for the people that democracy will prevail.
After all, if there's one thing Americans take pride in, it's America.
ABOUT
Completed October 28, 2020 by Michaela Stansberry.
This project came from my love of musicals and my fascination with Hamilton.
First, I looked up what Broadway musicals had hip hop elements for rap in them. Next, I researched the history of hip hop and rap, where I found the term "hip hop theatre," which I also researched. I used the information I found about the genre of hip hop theatre to pick the two musicals that embodied Will Power's definition: In the Heights and Hamilton. I then gathered information about these two musicals, including the synopsis and awards, and listened to their soundtracks. I chose a rap song from each that included verse from several of the main characters and analyzed them as if they were a poem. Given the length and the word count, only a portion of the lyrics are listed. Then, I found information about Broadway: what it is and they type of music typically seen on stage. Using this information, I drew conclusions about why these musicals, Hamilton in particular, have been so successful.
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