![]() ![]() This interpretation prioritises the history of elite white men, downplays the deep and long-standing history of racism (as well as the perpetuation of other inequalities) in the United States, taking overall a too-optimistic view of the creation of the American republic. Many of the early American historians, from different perspectives, argue that the musical perpetuates a flawed interpretation of the history of the revolutionary period, one encapsulated in the descriptor “Founders Chic”. The first two sections are underpinned by two general criticisms of the work: namely that Hamilton is less revolutionary than its public reputation suggests and, where it could be characterised as revolutionary or radical, it is so in ways more problematic than is generally acknowledged. The third section is especially notable for several essays effectively using a personal experience with the musical as a jumping off point for wider exploration. In the first two parts there is a nice balance between historians of the genre and of the period in which the musical is set. The collection is divided into three sections – on the script, the stage and the audience. ![]() It is an essential library purchase for anyone considering teaching courses which include this musical. It will be of interest to a wide range of people: fans of the show professional scholars from a range of disciplines and the general reader. This collection of fifteen essays brings together a range of specialist academic perspectives on the remarkable cultural phenomenon that is Hamilton: an American Musical. Historians on Hamilton: How a Blockbuster Musical is Restaging America’s Past (New Brunswick, N.J., Rutgers University Press, 2018), eds. ![]()
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