Celebrating a decade of the hit Broadway and cultural sensation

Rap, Revolution and Representation

Regina Ruiz UP staff writer

“Hamilton” has transformed the world of Broadway since its 2015 debut. Using hip-hop, R&B and traditional show tunes to tell the story of founding father Alexander Hamilton, the show quickly became a cultural phenomenon, redefining what a musical could sound like — and who could see themselves in it.

From the start, “Hamilton” broke tradition. Its rap-driven score introduced younger audiences to the stage while blending modern music with 18th-century history. The mix drew in fans who might never have stepped into a theater, proving Broadway could expand beyond its traditional base.

The musical also challenged long-standing casting norms. Actors of color were chosen to portray America’s historically white founders, creating a vision of the past that connected with the present. The decision made the show more inclusive and set a new precedent for theater companies across the country.

Beyond Broadway, “Hamilton” sparked renewed interest in U.S. history. Teachers incorporated its lyrics into classrooms, and educational programs partnered with the production to bring thousands of students to see the show. For many, it was their first exposure to live theater.

The show’s reach extends far beyond the stage. Its cast recording topped charts, streamed around the world, and built an international fan base. When a filmed version arrived on Disney+ in 2020, millions of viewers were able to experience the production from home, marking a turning point for Broadway in the digital age.

A decade after its debut, “Hamilton” remains a milestone in musical theater. Its fusion of hip-hop and history, combined with groundbreaking casting, has ensured Broadway will remain relevant for a new generation.

The room where it happens

Is it better to watch at home or in the theater?

Regina Ruiz UP staff writer

When “Hamilton” premiered on Disney+ in July 2020, it brought one of Broadway’s hottest tickets to millions of living rooms around the world. 

For many, it was the first time they could experience Lin-Manuel Miranda’s groundbreaking musical without waiting months for a seat or paying hundreds of dollars for a ticket. But while the streaming version opened the doors to a wider audience, longtime “Hamilton” fans argue that nothing compares to seeing the show next to people who appreciate the play as much as they do.

Audiences describe the viewing experience as electric. From the moment the lights dim to the final scene, the energy of a Hamilton performance reverberates through the theater. 

The Disney+ version, filmed in 2016 with the original cast, captures the production from multiple camera angles, offering a perspective even the best seats can’t provide. Close-ups highlight subtle facial expressions, and sweeping shots showcase Andy Blankenbuehler’s choreography in a new light. 

Still, the streaming experience lacks the unpredictability of live reactions — the spontaneous energy amongst the audience, the hushed silence before a pivotal moment, the thunder of applause after a showstopping number.

Whether at home or in a theater, “Hamilton” has reshaped musical theater and captured the imagination of audiences worldwide. The Disney+ version may have preserved it for future generations, but for those who have sat in a theater and felt the music pulse through the walls, the viewing experience remains unmatched.

Who Lives, Who Dies, Who Tells Your Story

Exploring connections between ‘Hamilton’ and journalism

Rayna Christy UP editor

Everything we do, every thought we have and every word we speak is a story. No matter if we get out of bed and just go through the motions of life, it is our story. As journalists, our job is to find other people’s stories and be the ones to tell them.

On Sept. 5, the hit Broadway musical “Hamilton” made its debut on the big screen with a limited run in theaters. Celebrating 10 years of the show, dubbed “Hamil-Ten,” the showings included not only the musical but also previously unseen interviews with the cast. Fans rushed for tickets to see it on the big screen. 

As a journalist, I was struck by Hamilton’s wife, Eliza, and her closing song. 

At the end of “Hamilton,” viewers hear Eliza reflect on everything she has done to tell Alexander’s story. In effect, Eliza is a journalist reporting to the audience. We have seen his life play out and now, like a good feature writer, she fills in the gaps with her reporting. 

As journalists, we do not aim to get recognition for our own name. The copy we write takes us out of the story and inserts the reader into the world of someone entirely different. Yes, our name sits in the byline. However, our name does not lie in the words we share. 

In Hamilton’s case, his story is most told when he dies, and that is sadly the case with many. We often regret not sharing the smaller stories — the stories of kindness, of generosity, of selflessness — until the person is no longer here to share it themselves. Journalism allows us to lessen that regret. 

We sit and watch at the ready, waiting for just the right person to cross our path. We find a story worth telling, a life worth sharing. We sit with our pen and reporter’s pad open to the next blank page, awaiting the person’s quotes, planning out in our heads just how the story will look on paper. We return to the newsroom, ecstatic to make the story a reality and to share the valuable information we have collected.

In that sense, Eliza is musical theater’s great journalist. She tells the story. 

Find your Eliza in your local journalist and sit down for a chat. You live a story worth telling and journalists will share it in AP Style instead of song.