Six months prior to attending the AALS conference, anticipating my weekend plans, I secured tickets to Hamilton on Broadway – a show consistently sold out for months. It proved to be an exceptional investment. The performance was truly spectacular. While not an expert in music or production, my review will focus on my area of familiarity: the Founding Fathers and the historical narrative presented.
What captivated me most about Hamilton was its remarkable ability to make the American Revolution and the nascent years of the Republic accessible to audiences with varying levels of historical knowledge. By centering the narrative on pivotal figures of the era, the audience is drawn into what feels like a personal drama. Yet, each character embodies a broader archetype within the larger context of the American experiment.
Alexander Hamilton, the musical’s namesake, is central but not solely the star. He shares the stage dynamically with Aaron Burr, his complex rival, a man seemingly driven by personal ambition. (The opening scene reveals Burr killing Hamilton, so this is not a spoiler). George Washington appears as a mentor to the young Hamilton, offering guidance and protection until his presidential resignation and return to Mount Vernon. Marquis de Lafayette embodies the international perspective, representing France’s involvement. King George III provides a contrasting viewpoint, bewildered by the colonies’ rejection of his rule. Act Two introduces Thomas Jefferson (portrayed by the same actor as Lafayette), whose entrance song, “What did I miss?”, immediately sets a tone. James Madison is present as Jefferson’s advisor, instrumental in establishing the National Bank in exchange for relocating the capital to the Potomac – a deal Jefferson framed as, “don’t you want to be closer to home?” Interestingly, John Adams is referenced but not depicted, described humorously as being short and unqualified.
Alexander Hamilton and Aaron Burr in Hamilton
Beyond the compelling characters, the show accurately portrays numerous historical elements. A scene depicts Washington lamenting the Continental Congress’s inadequate war funding. Marquis de Lafayette passionately declares their mission to first bring liberty to America, and subsequently to France. The Battle of Yorktown, the ensuing victory, and the pervasive uncertainty of the time are all depicted with historical fidelity. Hamilton’s invitation to Burr to contribute to essays defending the new Constitution is shown, along with Burr’s disinterest. The subsequent scene illustrates Hamilton collaborating with Madison and Jay (unseen) on the Federalist Papers, highlighting Hamilton’s significant contribution of 51 essays, dwarfing his co-authors’ output.
As Secretary of the Treasury, Hamilton’s pivotal role in shaping fiscal policy under Washington’s direct reliance is portrayed. The musical captures Hamilton’s surprise at Jefferson’s resignation to pursue the presidency in 1796. Hamilton’s criticism of Virginia is met with Washington’s reminder that he, too, is a Virginian, delivered with paternal affection, often calling Hamilton “Son.” The election of 1800 is depicted as the bizarre political landscape it was, with Aaron Burr campaigning by critiquing Adams and Jefferson. The electoral college tie and Hamilton’s decisive endorsement of Jefferson over Burr, despite their deep ideological differences, are crucial plot points. Hamilton’s rationale: Burr in the Presidency was the greater danger.
Post-election, Burr’s offer to cooperate with Jefferson is met with Jefferson’s dismissive remark about the Vice Presidency being inconsequential, followed by a somewhat inaccurate boast about changing it – foreshadowing the 12th Amendment’s impact. Even the correspondence leading to the Hamilton-Burr duel is reflected in the song title “Your Obedient Servant,” mirroring their actual letter closings. Subtly woven throughout the narrative are references to slavery and Hamilton’s early abolitionist stance, including his rebuke of Jefferson’s reliance on slave labor for the Southern economy.
A particularly impactful segment is the rap battle between Jefferson and Hamilton regarding the national bank and the assumption of state debts. This debate accurately showcases the economic and philosophical divide between the mercantile North and the agrarian South. Virginia’s skepticism towards anything not agriculturally based is clearly articulated. While the musical doesn’t delve into the “necessary and proper” clause, it implicitly touches upon the Hamiltonian/Madisonian debate central to M’Culloch v. Maryland.
Another key debate unfolds between Jefferson and Hamilton concerning US support for the French Revolution. Jefferson, the Francophile, argues for reciprocating France’s aid during the American Revolution by supporting their quest for liberty. Hamilton counters, accusing Jefferson of romanticizing the French Revolution and lacking firsthand experience of war’s realities (Jefferson notably fled Virginia’s capital during the British invasion). Hamilton employs subtle legalism, pointing out that the US treaty was with King Louis XIV, who was now executed, a powerful argument that resonated with Washington, who emphasized the lack of a formal relationship with the revolutionary French government. Hamilton prevails, and Washington tasks him with drafting the neutrality proclamation.
A recurring theme is Hamilton’s prolific writing, his relentless drive to “write like there was no tomorrow.” Jefferson famously remarks, “so long as Hamilton has a pen, he is dangerous.” This writing obsession is reminiscent of figures like Richard Posner, and the show uses it to underscore Hamilton’s towering ambition, which ultimately contributes to his downfall.
The only significant historical oversight I noticed was the omission of the capital’s relocation from New York to Philadelphia. Jefferson, despite his travels, never resided in New York.
In the final duel scene between Burr and Hamilton, Hamilton’s wearing of glasses is highlighted. Burr questions why Hamilton would wear glasses unless to improve his aim. However, historical accounts suggest Hamilton fired his shot into the air, mirroring advice he gave his son Phillip, who also died in a duel.
The prospect of a Hamilton movie is both exciting and concerning. The musical is a potent medium for conveying American history, but a film adaptation risks diminishing its impact. Perhaps George Lucas might create a “Special Edition” where Hamilton shoots first (a humorous nod to the historical inaccuracy of “Han shot first,” and the fact that Burr did shoot first!).
In conclusion, if securing tickets is possible, experiencing Hamilton is highly recommended. It’s a groundbreaking piece of theater that entertains while educating, making history vibrant and accessible through compelling storytelling and unforgettable Hamiltonian Songs.
