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Overview
Synopsis
Lin-Manuel Miranda's Pulitzer prize-winning transformation of Ron Chernow's biography, Hamilton, into a hip-hop musical took the world by storm in 2016. At the center of this groundbreaking, multi-award-winning musical is the story of founding father Alexander Hamilton, whose ambition drove him from the position of Caribbean outsider and bastard child to American war hero and George Washington's right-hand man. In the process, Alexander Hamilton powerfully shaped America as we have come to know it -- and gave us all a template for what it means to pull ourselves up by our bootstraps and realize the American Dream. This exploration of Hamilton's political mastermind was called "the most exciting and significant musical of the decade." David Brooks of the New York Times declared seeing Hamilton to be "one of the most exhilarating experiences I've had in the theatre." With heart, humor, and respect, Lin-Manuel Miranda's musical breathes vibrant, colorful life into this story of America's founding fathers.
Show Information
- Book
- Lin-Manuel Miranda
- Music
- Lin-Manuel Miranda
- Lyrics
- Lin-Manuel Miranda
- Arrangement
- Alex Timbers , Lin-Manuel Miranda
- Based on the Play/Book/Film
- Alexander Hamilton by Ron Chernow
- Category
- Musical
- Age Guidance
- Thirteen Plus (PG-13)
- Number of Acts
- 2
- First Produced
- 2015
- Genres
- Historical/Biographical
- Settings
- Period, Multiple Settings, Unit/Single Set
- Time & Place
- 1776, late 1700s
- Cast Size
- medium
- Orchestra Size
- Medium
- Dancing
- Heavy
- Ideal For
- Professional Theatre, Mostly Male Cast, Includes Adult, Young Adult, Late Teen Characters, Medium Cast
Context
Hamilton began in Lin-Manuel Miranda’s mind as a concept album. One May evening in 2009, Miranda was supposed to perform a piece from his current Broadway hit, In the Heights, for “An Evening of Poetry, Music, and the Spoken Word” at the White House. It was early in President Barack Obama’s administration, and Miranda decided that this was the right night, and the right crowd, to try out a new project. Supported by Alex Lacamoire on piano, Miranda introduced the White House and the world to
to read the context for Hamilton and to unlock other amazing theatre resources!Plot
Act One
A few regal, military chords ring out, then an ensemble enters snapping their fingers, creating a beat to tell the beginning of the story of our main character (“Alexander Hamilton”). Aaron Burr, the shows erstwhile villain, takes the lead as narrator and one by one we are introduced to the characters from American History that are part of the story to be told. Alexander comes to New York from the Caribbean, the orphaned child of a whore and a Scotsman. He is driven and yearns to
to read the plot for Hamilton and to unlock other amazing theatre resources!Characters
| Name | Part Size | Gender | Vocal Part |
|---|---|---|---|
|
Lead |
Male |
Tenor, Baritone |
|
|
Lead |
Male |
Tenor, Baritone |
|
|
Lead |
Female |
Mezzo-Soprano |
|
|
Lead |
Female |
Soprano |
|
|
Supporting |
Male |
Tenor, Baritone |
|
|
Supporting |
Male |
Tenor, Baritone |
|
|
Supporting |
Male |
Tenor, Baritone |
|
|
Supporting |
Male |
Tenor |
|
|
Featured |
Male |
Tenor |
|
|
Featured |
Female |
Mezzo-Soprano |
|
|
Ensemble |
Either Gender |
Soprano, Mezzo-Soprano, Alto, Tenor, Baritone, Bass |
Songs
Act One
- Alexander Hamilton – Full company (except King George)
- Aaron Burr, Sir – Hamilton, Burr, Laurens, Lafayette, and Mulligan
- My Shot – Hamilton, Laurens, Lafayette, Mulligan, Burr and Company
- The Story of Tonight – Hamilton, Laurens, Lafayette, Mulligan
- The Schuyler Sisters – Angelica, Eliza, Peggy, Burr, and Company
- Farmer Refuted – Seabury and Hamilton
- You'll Be Back – King George
- Right Hand Man – Washington, Hamilton, Burr, and Company
- A Winter's Ball – Burr, Hamilton, Company
- Helpless – Eliza, Hamilton, Women
- Satisfied – Angelica, Eliza, Hamilton and Company
- The Story of Tonight (Reprise) -Laurens, Lafayette, Mulligan, Hamilton, Burr
- Wait For It – Burr and Company
- Stay Alive – Hamilton, Washington, Lee, Laurens, Lafayette, Mulligan, Eliza, Angelica, and Company
- Ten Duel Commandments – Laurens, Hamilton, Lee, Burr, and Company
- Meet Me Inside – Washington, Hamilton, and Company
- That Would Be Enough – Eliza and Hamilton
- Guns and Ships - Lafayette, Burr, Washington, Company
- History Has Its Eyes on You – Washington and Company
- Yorktown (The World Turned Upside Down) – Hamilton, Lafayette, Laurens, Mulligan, Washington, and Company
- What Comes Next? – King George
- Dear Theodosia – Burr, Hamilton
- Non-Stop – Hamilton, Burr, Eliza, Angelica, Washington, and Company
Act Two
- What'd I Miss – Jefferson, Burr, Madison, Washington, Hamilton and Company
- Cabinet Battle #1 – Jefferson, Hamilton, Washington, and Madison
- Take a Break – Eliza, Philip, Hamilton, and Angelica
- Say No to This – Hamilton, Maria Reynolds, James Reynolds, and Company
- The Room Where It Happens – Burr, Hamilton, Jefferson, Madison, and Company
- Schuyler Defeated – Philip, Eliza, Hamilton, and Burr
- Cabinet Battle #2 – Washington, Jefferson, Hamilton, and Madison
- Washington on Your Side – Burr, Jefferson, and Madison
- One Last Time – Washington, Hamilton, and Company
- I Know Him – King George
- The Adams Administration – Burr, Hamilton, Jefferson, Madison, and Company
- We Know –Hamilton, Burr, Jefferson, and Madison
- Hurricane – Hamilton and Company
- The Reynolds Pamphlet - Hamilton, Jefferson, Madison, Burr, Angelica, Company
- Burn – Eliza
- Blow Us All Away – Philip, Hamilton, Eacker, Dolly, Martha and Company
- Stay Alive (Reprise) – Philip, Hamilton, Eliza, Doctor, and Company
- It's Quiet Uptown – Angelica, Hamilton, Eliza, and Company
- The Election of 1800 – Jefferson, Madison, Burr, Hamilton, and Company
- Your Obedient Servant – Burr, Hamilton
- Best of Wives and Best of Women – Eliza, Hamilton
- The World Was Wide Enough – Burr, Hamilton, and Company
- Who Lives, Who Dies, Who Tells Your Story – Eliza, Washington, Burr, Jefferson, Madison, Angelica, Laurens, Lafayette, Mulligan and Company
A song with an asterisk (*) before the title indicates a dance number; a character listed in a song with an asterisk (*) by the character's name indicates that the character exclusively serves as a dancer in this song, which is sung by other characters.
Monologues
Scenes
Key Terms
A low female vocal range used in opera and musical theatre, often assigned to mature or dramatic roles.
A historical event frequently dramatized in plays and musicals that explore national identity, liberty, and rebellion.
A narrative song or poem often used in musical theatre and opera to convey story and emotion through melody.
A male vocal range between tenor and bass, often used for romantic leads, villains, or father figures in opera and musicals.
The lowest male vocal range, typically associated with characters of authority, wisdom, or villainy in opera and musicals.
In musical theatre, the script or spoken text of the show, not including the music or lyrics.
The art of designing and arranging movement sequences for theatrical dance and physical storytelling.
The 1787 meeting to draft the U.S. Constitution, sometimes referenced in historical drama to explore democratic ideals.
A formal combat between two characters, often used in theatre to heighten stakes and illustrate honor or revenge.
A musical and cultural movement that has influenced contemporary theatre, particularly in rhythm-driven musicals like Hamilton.
A recurring musical theme associated with a particular character, idea, or emotion. Frequently used in opera and musical theatre, leitmotifs help reinforce narrative continuity and emotional cues for the audience.
The complete text of an opera, musical, or other extended vocal work, including all spoken dialogue and lyrics. The libretto provides the dramatic structure and narrative arc, serving as a guide for both performers and directors to align story and music.
Short for mezzo-soprano, a female voice type that sits between soprano and contralto, common in opera and musical theatre.
A theoretical framework examining the effects of colonialism on culture and identity, often explored in World Theatre.
A prestigious U.S. award for achievements in journalism, literature, and drama. Many modern plays that reflect social and political themes have received this honor.
A spoken rhythmic vocal style incorporated into modern musicals and theatre to convey energy, storytelling, or protest.
The highest female vocal range in classical and musical theatre, often associated with youthful or romantic leads.
A male vocal range above baritone, commonly featured in opera and musical theatre for romantic or heroic lead characters.
A sentimental ballad about unrequited love, often featured in musicals or cabaret performances.
Videos
Quizzes
Themes, Symbols & Motifs
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Quote Analysis
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Guide Written By:
Laura Ware
StageAgent Editor and former dancing queen in Mamma Mia.