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, by Ross Rosenfeld
Ebook Download , by Ross Rosenfeld
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Product details
File Size: 3231 KB
Print Length: 89 pages
Page Numbers Source ISBN: 1795785322
Publisher: Fun Books (January 3, 2018)
Publication Date: January 3, 2018
Sold by: Amazon Digital Services LLC
Language: English
ASIN: B078T34S7H
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Ross Rosenfeld can be a witty, persuasive writer. His stated motivation in self-publishing this critical essay is to evaluate the historical accuracy of "Hamilton", the runaway smash-hit Broadway musical. Rosenfeld's wit is an important issue, because any work of political criticism should include flashes of humor or irony. Otherwise, the essay would run the risk of becoming mere pedantic lecturing, or dull whining. This slim volume is an effort at tackling the cultural behemoth of "Hamilton", but, on the whole, is too slim and cursory to pick up much traction in stopping that behemoth in its tracks.Rosenfeld tells us, in the introduction, that his biggest problem with the play, and his primary motivation for writing in the first place, is the use of "black actors playing white slave-owners". He describes this practice as "whitewashing history", and "both ludicrous and insulting to black Americans". This is a right-wing critique of Hamilton, but couched in left-wing vocabulary. Of course, the cast of "Hamilton" was famously intended to be a primarily minority (as opposed to "black") cast; the original and current Broadway casts include multi-racial actors of Hispanic, Asian, and Jewish descent. That's because Lin-Manuel Miranda intended the play to be the story of America then as told by America now. Rosenfeld's version of America now is evidently not as representational, or as aspirational, as Miranda's version. I'd much rather live in a world where Daveed Diggs, who, like me, is Jewish, can play President Jefferson, than in a world where you complain about that sort of casting.The author also spends much time on the cursing in the play; again, this is an easily dispelled argument, as many of the songs are framed in the hip-hop vernacular, which does employ cursing. Again, America now, not America then. In John Adams' day, the worst thing you could call someone was a "Scotsman", but, fortunately, American society has evolved well beyond this.Although Rosenfeld states that the multi-racial casting was "all I set out to write about" at first, the book scope quickly broadens to critique the historical accuracy of the play. In a larger sense, this is an unnecessary task, because somebody else already did this for him: Lin-Manuel Miranda. Miranda himself freely and openly describes what he's changed from the original history, both in his prolific annotations on Genius, and in the footnotes to the Broadway show's companion volume. Incidentally, some of Rosenfeld's complaints about accuracy have to do with the use of the words "bursar" and "Mercer" in the play, but, again, Miranda has announced elsewhere that these words were included because they rhyme with "Burr, sir", rather than with an eye to strict historical accuracy.Other complaints are Rosenfeld trying to have it both ways; he first complains when Miranda doesn't identify James Madison as an author of the Constitution (I'll assist him by pointing out that the play also excludes Gouverneur Morris)... and then carps on the line where Madison claims authorship of the Bill of Rights. Many of the complaints in the essay are, frankly, addressed by other lines from the same play. Rosenfeld's complaint that Washington was more like Cincinnatus than the play admits, are already covered by "One Last Time", Still other complaints have to do with dramaturgical choices, such as condensing characters and time-frames, but this would appear to be more a critique of the theatrical form in general, as opposed to deciding that Miranda was stabbing history in the back.Many other complaints have to do with "People didn't use those words back then", or pointing out that the phrase "sell X down the river" originated 50 years after the play is set. It's interesting that he enjoyed the song "Helpless", but didn't assail the casting of Philippa Soo, who originated the role of Eliza, on the grounds that America didn't have half-Asian people in 1780.Rosenfeld can be witty at times, and he does raise some good points about the play not giving Aaron Burr enough of the benefit of the doubt for being liberal and progressive. On the whole, though, Rosenfeld's essay mostly misses its mark.However, what I am looking forward to is Rosenfeld's follow-up volume, attacking the historical inaccuracy of the Broadway musical "Fiorello!". I mean, casting Tom Bosley as a half-Italian New Yorker? That should be a passionate rebuttal, indeed.
A detailed piece that reminds the audience to always remember that Broadway, like Hollywood, is prone to take “artistic license†when presenting real history in dramatic fashion. While the triumph of the play is exposing Hamilton’s exploits to a wider audience ... this book is a great accompaniment for anyone who cares to know what ACTUALLY went down “in the room where it happened.â€
History and Hamilton: Is Lin-Manuel Miranda and Ron Chernow's Hamilton Accurate? A Song by Song Analysis of the History Portrayed in the Broadway ShowYou have to know the songs well for this to be meaningful. Moreover, inevitably fiction has its own rules. However, this is somewhat interesting to a person interested more in the accuracy of the history.
While it was very well written, I have to agree that he doesn't not know the show well enough.Also he forgets the words artistic license Lin-Manuel Miranda himself said that he took liberties with the story. All in all in glad I didn't pay for this book.
Rather than accept that the story brought history alive to hundreds of thousands of people, it zeroed in on minor details .
A very interesting take , really enjoyed this one and highly recommend it.
Hamilton, the musical, garnered eleven Tony awards in 2016 for the acting, story, choreography, book, orchestration, lighting, and best musical. It consistently has sold-out houses on Broadway and throughout the country.. As the subtitle, A Critical Analysis of the Lin-Manuel-Muranda and Ron Chernow Broadway Show, states, HAMILTON AND HISTORY is a historical/critical analysis show providing a critique of the play as well as a song by song analysis. It is not a review of the play itself as seen by most audience members. Hamilton brought with it an interest in the history of the founding of the United States, especially regarding our first Secretary of the Treasury. As Rosenfeld explains, his critique is primarily fact-checking. He finds much of the material is actually fictional and uses words and expressions that began more than a century later or had changed meanings over time. His first complaint is the use of all black actors portraying white slave owners. He believes that diminishes the horror of slavery. It "undermines the irony of the fact that, at the start of our nation, we had white slave owners preaching about freedom from tyranny." He also takes issue with the way the historical figures insult each other, curse, and brag. That type of behavior was not used in colonial times. Alexander Hamilton is portrayed as an inspiring immigrant. Hamilton, born in the British West Indies, was considered white. He saw himself as British, as did most of the white colonists living here as well. It ignores the fact that Hamilton supported the Alien and Sedition Acts, the most anti-immigration law of its time. Hamilton was not egalitarian. He preferred the leaders be members of the elite classes. The main part of the book is a sequential analysis of each song. The opening song, “Alexander Hamilton,†implies that Hamilton and Aaron Burr were great friends and Burr was said that he shot him. Neither is true. Saying that Hamilton "got a lot farther by working a lot harder/by being a lot smarter/by being a self-starter" is misleading. He was also lucky by being in the right place at the right time with the right people. Today, the lines resonate with the idea that if you are not successful, it is because you are not working hard enough. As many people know, people can work very hard, be very smart, and still not make it. On the other hand, people can be very wealthy because they inherited their wealth. “Considering our current lack of upward mobility, I find it both inaccurate and insensitive to imply that Hamilton's drive and ability were all he really needed to succeed." The play applies today's standards and ideas to those in Hamilton's day. The self-esteem concept did not exist at that time. Hamilton was very self-confident and would never have said, “You have to believe in yourself.†The next song, “Aaron Burr,†says that Hamilton held Burr in reverence. Since they were about the same age, Rosenfeld believes that this is probably fictional. Hamilton would not have cursed, not even his inner thoughts. “My Shot,†doesn’t show that Lafayette came to this country seeking adventure and escaping his wife and father-in-law, not fleeing the monarchy. Later he would defend the Royals against the hordes, even going so far as to order soldiers to fire into a crowd killing about 50 people. At this point in his life, Hamilton was more concerned about military glory than about the finances of the nation. The words “blow us all away†was not a common expression in colonial times. Wall Street was not a financial sector. There is no proof that Jefferson “got high†in today’s drug-related meaning. The hemp he grew on his plantation was used to make rope, not to smoke or swallow. None of the people mentioned in the reprise of “Tonight†were actually at Hamilton’s wedding. His relationship with his sister-in-law is likely fiction. Hamilton was not always the righteous one and Burr was not totally evil.. Rosenfeld also points out errors in time lines and suggests it was done to give false effect. For example, Jefferson referring back to the Bill of Rights was unlikely: “Why would they look back at something that it just been passed?†Rosenfeld has positive things to say about several of the songs. For example, he's not sure if King George means at some points in “You'll Be Back†but thinks the song is humorous, well constructed, and enjoyable. “Helpless†is not a bad song in his opinion. It is “musically sound, harmonic, and has strong vocals.†Rosenfeld resents the inaccuracies because the play has been accepted as historically true especially because of Miranda’s inclusion of Ron Chernow, a Pulitzer Prize winning historian, as a consultant. Hamilton can be appreciated for its originality and arousing an interest in the history of the United States, especially for those who had not been interested in learning about the subject or the times. However, it is historical fiction and it would unwise to rely on the musical as the basis of a history course.
Very well written and very interesting! Besides getting a good glimpse into the disparity of Alexander Hamilton's life and what is presented in the musical, it raises some important questios. How much are we willing to sacrifice the truth for entertainment, and is there a negative effect when we do so?
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