Kevin J. Wetmore, Jr., is a professional actor and director whose previous books have covered topics ranging from Star Wars to Renaissance faires. He is a professor and chair of the theater department at Loyola Marymount University in Los Angeles, California.

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• Table of ContentsAcknowledgmentsIntroduction: Writing, Erasing and Versioning HamiltonKevin J. Wetmore, Jr.I. “Grow into more of a phenomenon”: Hamilton as History and Cultural ExperienceThe Battle for Hamilton: Then andMichael A. Genovese“Watching the afterbirth of a nation, watching the tension grow”: Meta-Hamilton and the ­Citizen-Artist During Two PresidenciesKevin J. Wetmore, Jr.“This is not a moment, it’s a movement”: Why Millennials Are “Hamiltrash”Vicki L. HoskinsII. “A bunch of revolutionary manumission abolitionists?” Race and Class in HamiltonHamilton Hype and Hamilton Hate: In Dahomey, A Raisin in the Sun, and a Genealogy of Race in American Popular TheaterMegan E. GeignerParodying Through Song: How Comic Devices in King George III’s Songs in Hamilton Challenge Contemporary Dispositions About the Symbolic Value of Youth CultureEvi Stamatiou“The villain in your history”: The Complications of ­Color-Conscious Casting in Hamilton’s AmericaLaura London WaringerIII. “Who tells your story?” Exclusive Inclusivity and Whose Story Gets Told“A woman who has never been satisfied”: A Feminist Critique of HamiltonAlexa Schreiber“Compel him to include female agency in the sequel,” or Gender Construction in HamiltonLisa Quoresimo“Here comes the general”: An Examination of the Depiction of the African American Man as the Father of America in HamiltonAaron BrownIV. “Even though we started at the very same time…” Comparative Hamiltons“You hear that music in the air?” Consciousness of Music in In the Heights and HamiltonDan RubinsContextualizing ­Lin-Manuel Miranda’s In the Heights and Hamilton Within ­Hip-Hop Theater HistoryPriscilla Maria PageRace, Casting, and Politics: A Comparative Study of ­Lin-Manuel Miranda’s Hamilton and Katori Hall’s The MountaintopAnne Stefani“Everybody’s got the right to their dreams”: The Violent Pursuit of the American Dream in Assassins and HamiltonStephanie LimWhite Supremacy and ­Hyper-Masculinity: Hamilton, Hip-Hop and HomicideAlisa C. RoostConclusion: A Hamilton EvolutionDaniel BanksWorks CitedAbout the ContributorsIndex

Kevin J. Wetmore, Jr., is a professional actor and director whose previous books have covered topics ranging from Star Wars to Renaissance faires. He is a professor and chair of the theater department at Loyola Marymount University in Los Angeles, California.

Select Guide Rating

• Table of ContentsAcknowledgmentsIntroduction: Writing, Erasing and Versioning HamiltonKevin J. Wetmore, Jr.I. “Grow into more of a phenomenon”: Hamilton as History and Cultural ExperienceThe Battle for Hamilton: Then andMichael A. Genovese“Watching the afterbirth of a nation, watching the tension grow”: Meta-Hamilton and the ­Citizen-Artist During Two PresidenciesKevin J. Wetmore, Jr.“This is not a moment, it’s a movement”: Why Millennials Are “Hamiltrash”Vicki L. HoskinsII. “A bunch of revolutionary manumission abolitionists?” Race and Class in HamiltonHamilton Hype and Hamilton Hate: In Dahomey, A Raisin in the Sun, and a Genealogy of Race in American Popular TheaterMegan E. GeignerParodying Through Song: How Comic Devices in King George III’s Songs in Hamilton Challenge Contemporary Dispositions About the Symbolic Value of Youth CultureEvi Stamatiou“The villain in your history”: The Complications of ­Color-Conscious Casting in Hamilton’s AmericaLaura London WaringerIII. “Who tells your story?” Exclusive Inclusivity and Whose Story Gets Told“A woman who has never been satisfied”: A Feminist Critique of HamiltonAlexa Schreiber“Compel him to include female agency in the sequel,” or Gender Construction in HamiltonLisa Quoresimo“Here comes the general”: An Examination of the Depiction of the African American Man as the Father of America in HamiltonAaron BrownIV. “Even though we started at the very same time…” Comparative Hamiltons“You hear that music in the air?” Consciousness of Music in In the Heights and HamiltonDan RubinsContextualizing ­Lin-Manuel Miranda’s In the Heights and Hamilton Within ­Hip-Hop Theater HistoryPriscilla Maria PageRace, Casting, and Politics: A Comparative Study of ­Lin-Manuel Miranda’s Hamilton and Katori Hall’s The MountaintopAnne Stefani“Everybody’s got the right to their dreams”: The Violent Pursuit of the American Dream in Assassins and HamiltonStephanie LimWhite Supremacy and ­Hyper-Masculinity: Hamilton, Hip-Hop and HomicideAlisa C. RoostConclusion: A Hamilton EvolutionDaniel BanksWorks CitedAbout the ContributorsIndex

Kevin J. Wetmore, Jr., is a professional actor and director whose previous books have covered topics ranging from Star Wars to Renaissance faires. He is a professor and chair of the theater department at Loyola Marymount University in Los Angeles, California.

Select Guide Rating

• Table of ContentsAcknowledgmentsIntroduction: Writing, Erasing and Versioning HamiltonKevin J. Wetmore, Jr.I. “Grow into more of a phenomenon”: Hamilton as History and Cultural ExperienceThe Battle for Hamilton: Then andMichael A. Genovese“Watching the afterbirth of a nation, watching the tension grow”: Meta-Hamilton and the ­Citizen-Artist During Two PresidenciesKevin J. Wetmore, Jr.“This is not a moment, it’s a movement”: Why Millennials Are “Hamiltrash”Vicki L. HoskinsII. “A bunch of revolutionary manumission abolitionists?” Race and Class in HamiltonHamilton Hype and Hamilton Hate: In Dahomey, A Raisin in the Sun, and a Genealogy of Race in American Popular TheaterMegan E. GeignerParodying Through Song: How Comic Devices in King George III’s Songs in Hamilton Challenge Contemporary Dispositions About the Symbolic Value of Youth CultureEvi Stamatiou“The villain in your history”: The Complications of ­Color-Conscious Casting in Hamilton’s AmericaLaura London WaringerIII. “Who tells your story?” Exclusive Inclusivity and Whose Story Gets Told“A woman who has never been satisfied”: A Feminist Critique of HamiltonAlexa Schreiber“Compel him to include female agency in the sequel,” or Gender Construction in HamiltonLisa Quoresimo“Here comes the general”: An Examination of the Depiction of the African American Man as the Father of America in HamiltonAaron BrownIV. “Even though we started at the very same time…” Comparative Hamiltons“You hear that music in the air?” Consciousness of Music in In the Heights and HamiltonDan RubinsContextualizing ­Lin-Manuel Miranda’s In the Heights and Hamilton Within ­Hip-Hop Theater HistoryPriscilla Maria PageRace, Casting, and Politics: A Comparative Study of ­Lin-Manuel Miranda’s Hamilton and Katori Hall’s The MountaintopAnne Stefani“Everybody’s got the right to their dreams”: The Violent Pursuit of the American Dream in Assassins and HamiltonStephanie LimWhite Supremacy and ­Hyper-Masculinity: Hamilton, Hip-Hop and HomicideAlisa C. RoostConclusion: A Hamilton EvolutionDaniel BanksWorks CitedAbout the ContributorsIndex