Winner of the 2016 Pulitzer Prize for Drama and Eleven Tony Awards, including Best Musical
Lin-Manuel Miranda's groundbreaking musical Hamilton is as revolutionary as its subject, the poor kid from the Caribbean who fought the British, defended the Constitution, and helped to found the United States. Fusing hip-hop, pop, R&B, and the best traditions of theater, this once-in-a-generation show broadens the sound of Broadway, reveals the storytelling power of rap, and claims our country's origins for a diverse new generation.
HAMILTON: THE REVOLUTION gives readers an unprecedented view of both revolutions, from the only two writers able to provide it. Miranda, along with Jeremy McCarter, a cultural critic and theater artist who was involved in the project from its earliest stages--"since before this was even a show," according to Miranda--traces its development from an improbable performance at the White House to its landmark opening night on Broadway six years later. In addition, Miranda has written more than 200 funny, revealing footnotes for his award-winning libretto, the full text of which is published here.
Their account features photos by the renowned Frank Ockenfels and veteran Broadway photographer, Joan Marcus; exclusive looks at notebooks and emails; interviews with Questlove, Stephen Sondheim, leading political commentators, and more than 50 people involved with the production; and multiple appearances by President Obama himself. The book does more than tell the surprising story of how a Broadway musical became a national phenomenon: It demonstrates that America has always been renewed by the brash upstarts and brilliant outsiders, the men and women who don't throw away their shot.
Love is love is love is love is love is love is love is love, cannot be killed or swept aside. Now fill the world with music, love, and pride.
He sequestered himself in a quiet corner of the Public [theatre], composing music, scribbling verses, occasionally wandering the halls. The staff got used to seeing him pacing in his slippers. One day he realized that his inability to grasp the enormity of Alexander and Eliza’s loss wasn’t a barrier to writing the song, it was the song.
“Once I got the line, ‘There are moments that the words don’t reach,’ I had the song,” he says. He wrote it in a day.
When Lin told the audience at the White House that Alexander Hamilton “embodies the word’s ability to make a difference,” he was thinking of all the good things that language can do.
Hamilton reminds us that the American Revolution was a writers’ revolution, that the founders created the nation one paragraph at a time. But words can also wreak havoc. They also tear down.