In his theatrical work, Miranda foregrounds his multi-cultural upbringing and Latino identity. As a director, he has always made a conscious decision to cast actors from various cultural and racial backgrounds. This feature of Hamilton has created some controversy, given the historical fact that the men and women represented in the musical were primarily white. Miranda, however, has defended this approach by drawing parallels between his casting and musical decisions. Just as he did not attempt to write music in the style of the 1770s, he did not attempt to create a visual image representative of the 1770s. Miranda’s Hamilton was created to represent America in the current age. He makes the point that the United States was founded by immigrants. The founding fathers themselves—despite their skin color—were either immigrants or the children or grandchildren of immigrants. Hamilton himself was born in the West Indies, coming to America at a young age to make a name for himself. What is more American than that?

Allegory

There are several additional musical allegories in Hamilton. Let us consider, for example, the number “You’ll Be Back,” which is sung from the perspective of King George III. The music for this number is in the style of 1960s British Invasion pop. (Incidentally, The Beatles—the most famous and influential of the British Invasion bands—prominently featured harpsichord in their 1967 album Sgt. Pepper’s Lonely Hearts Club Band.) Again, Miranda makes a connection between a British musical style (an invasive one at that) and an imperialistic British character. But that’s not all: Miranda further uses the pop genre to heighten the impact of his character’s words. King George sings this number to a personified America. The music is relentlessly upbeat, as if expressing the emotional state of a delirious ex-boyfriend who cannot grasp that the relationship is over. The text, which is quite disturbing at times, is hilariously juxtaposed with some of the happiest and tuneful music of the show.

Let us also consider Miranda’s use of the harpsichord. Miranda writes for two keyboard instruments in his musical: the harpsichord and the piano. The two instruments really did not coexist in history. During the course of the 1700s, the harpsichord was gradually replaced by the fortepiano, which was itself an early predecessor to the piano. In Hamilton, however, we do not hear a fortepiano but rather a modern, 20th-century piano—an instrument historically separated from the harpsichord by over one hundred years. The harpsichord, therefore, represents an old way of life—and, more particularly, an old way of conducting politics. Specifically, Miranda uses the harpsichord to represent British rule before the revolution.

The sound of the harpsichord was, historically speaking, the sound of the 18th-century British monarchy. In order to draw a historical comparison, we might consider the music of George Frederic Handel. Handel served as music director (German: Kapellmeister) to the German Prince George of Hanover, who later became King George I of England. While living in London, Handel composed many great works for the King, most notably his Water Music and Music for the Royal Fireworks. Handel was also one of the best-known and highly celebrated harpsichordists of his time. It is therefore fitting that the harpsichord should represent King George III, England, political oppression, and a deranged narcissistic ex-suitor.

We encounter this allegory in several musical examples. In “Farmer Refuted,” Bishop Samuel Seabury, accompanied by harpsichord, defends his decision to remain loyal to England and begs Hamilton to do the same. “You’ll Be Back” begins with King George III singing to a subdued piano accompaniment. When his lyrics turn sinister, however, we hear the harpsichord enter. In both of these cases, therefore, the sound of the harpsichord is a symbol for the old-fashioned values of the British monarchy.

Cyclicism

King George later returns to perform “I Know Him.” This song is a musical reprise of the first number he sang (“You’ll Be Back”). At this point in the musical, the Revolution is long over and John Adams has been elected president. The harpsichord can still be heard, but it is less prominent than it was in “You’ll Be Back.” Instead, it is lurks behind a texture that consists primarily of strings played pizzicato. This is significant: England (harpsichord) has lost the war and King George (harpsichord) no longer rules over the Americans.

“I Know Him” is not the only example of a musical reprise. Indeed, in crafting the score to Hamilton, Miranda sought to unify the various parts of the work using cyclical techniques. Hamilton contains many musical ideas that harken back to earlier points in the work. This approach to creating a narrative can be compared to Wagner’s use of leitmotifs. For example, the opening of the musical begins with a narrative rapped by Aaron Burr: “How does a bastard [...] grow up to be a hero and scholar?” Miranda treats this passage from Aaron Burr’s opening number, which is entitled “Alexander Hamilton,” as a leitmotif, which later returns in “A Winter’s Ball,” “Guns and Ships,” “What’d I Miss,” “The Adams Administration,” and “Your Obedient Servant.” Despite the recurrence of musical material, however, each of these numbers has a distinct character. In “What’d I Miss,” the borrowing takes on a swinging feel as the once-straight sixteenths of the opening become dotted. In “Your Obedient Servant,” on the other hand, the tone is darkened by tremolo strings and the omission of the snaps that were previously heard on offbeats: Burr, now downright angry, is resentful of Alexander Hamilton.

Success

Upon its Broadway premiere in 2015, Hamilton immediately sold out. As of 2019, it continues to be nearly impossible to secure a ticket, the aftermarket prices of which have soared to record-breaking levels. The musical is currently on tour to cities across the globe, including Puerto Rico and London, England. It has won numerous awards, including ten Lortel Awards, three Outer Critic Circle Awards, eight Drama Desk Awards, the New York Drama Critics Circle Award for Best New Musical, and an Obie for Best New American Play.