‘History Has Its Eyes On You’: The Politics of the Hamilton reunion

At this year’s Tony Awards, the original 2015 company of Hamilton reunited through a stunning medley of the musical’s most iconic tracks: ‘Non-Stop’, ‘My Shot’, ‘Schuyler Sisters’, ‘Guns and Ships’, ‘You’ll be Back’, ‘Yorktown’, ‘The Room Where It Happens’, ‘Who Lives, Who Dies, Who Tells Your Story’ and ‘History Has Its Eyes on You’. Created by Lin-Manuel Miranda, Hamilton is a satirical take on the American revolution told through rap and hip-hop music, following Founding Father Alexander Hamilton. Miranda’s genius has made his musical a timeless allegory for the American political sphere – provoking questions of freedom, democracy and immigration. The reunion performance is no exception to this hidden political commentary. Even ten years later, the construct of America faces well deserved artistic scrutiny through the world of Hamilton.

the cast themselves are mourning a lack of change within America as both the debut and reunion of Hamilton are performed alongside the backdrop of Trump’s presidency

The cast’s use of costuming is what first points to the political underbelly of this performance, the majority of the cast and ensemble are dressed in black formal attire, suggesting notions of death and mourning. The black attire creates a double meaning: both the cast and the figures they represent (the Founding Fathers) mourning the “death” of America or intended ideals of American democracy. Although the founding fathers were certainly not champions of democracy, the American constitution enshrines ideas of individual liberty and freedom that are now being mourned through this modern-day depiction. In a similar light, the cast themselves are mourning a lack of change within America as both the debut and reunion of Hamilton are performed alongside the backdrop of Trump’s presidency, also working to dismantle true democracy. Costuming is used further in the performance to tribute another revolutionary organisation: The Black Panther Party. Lafayette (depicted by Daveed Diggs), is seen wearing a black beret, nodding to the non-conformist style of the group that were known for confronting power structures, challenging the police and protecting black citizens. Diggs is also shown wearing one black glove, perhaps symbolising the emblem of the Black Lives Matter movement that also disputed police brutality against minority groups. Through the antiquated figure of Lafayette, the Black Panthers and the Black Lives Matter movement, audiences are told to look back at past revolutionary forces in reflection of the current state of America.

Costume is also used to criticise the past and current dictatorship over America through the red suit that King George (Jonathan Groff) wears. Groff is the only cast member not seen in black, as he struts the stages in red holding a golden scepter. The red is first and foremost an allusion to the tyrannical reign of King George who championed the British Empire and threatened the liberty of America. Within a current context, the red could also be mocking the current tyrannical reign of the Republican Party, particularly Trump, ruling America. The final notable use of costuming is shown through the appearance of Aaron Burr (depicted by Leslie Odom Jr.) through his performance of ‘The Room Where It Happens’. This track is designed to question authority and the shady nature of the political sphere: “We want our leaders to save the day but we don’t get a say in what they trade away”. Before performing it, Odom sheds a large black cloak, implying a removal of secrecy between him and the audience. As the number unfolds, the ensemble sings the line “we dream of a brand new start”, while Odom sings the preceding lyric ‘but we dream in the dark for the most part.’ While the masses (portrayed by the ensemble) are voices of optimism, Odom is voicing the truth surrounding the deceitful nature of politics. Hence, in his relinquishment of the cloak, Odom removes this deception.

Choosing to end the performance with the final number that precedes the intermission suggests that the remainder of the ‘play’ is left to us – the audience. The value of the performance now lies in what we take away from it.

Other elements of the performance are also wielded to present the casts’ political messaging. The narrative of the performance, demonstrated through the lyric choices, the staging and the lighting also work to craft an allegory for the political landscape of America. The performance flits between pockets of warning and hope for the audience; the theme of revolution remaining consistent throughout. Diggs, depicting a figure of revolution, is quickly shut down by the interruption of Groff, depicting a figure of dictatorship. Groff sings only in gibberish, designed purely for comedic relief – suggesting that what he represents is also under mockery.  The King interrupts the immigrant to say nothing of substance – once again highlighting the performance’s blatant disappointment at the current state of American democracy. Another notable factor of Groff’s section is his solitary presence on stage, sharply contrasting with the collective huddle formation used to introduce Hercules Mulligan (depicted by Okieriete Onaodowan). With Onaodowan’s debut, the performance is brought back to a call for revolutionary action and reminds the audience of the importance of a collective stance against unjust authority. The huddle also appears behind the King, suggesting that they are once again spying or weary of tyrannical rule. The lyrics, “I’m running with the sons of liberty and I am lovin’ it”, truly revitalise the performance’s clear revolutionary undertones.  George Washington (Christopher Jackson) closes the performance with a mix of ‘Who Lives, Who Dies, Who Tells Your Story’ and ‘History Has Its Eyes on You’. The pivotal line: ‘I know that we can win, I know that greatness lies in you, but remember from here on in, history has its eyes on you’ acts as a final warning and message of hope to the audience. The performance is drawn back to the start as the cast begin to sing ‘Non-Stop’ – the number before intermission in the original Hamilton musical. Choosing to end the performance with the final number that precedes the intermission suggests that the remainder of the ‘play’ is left to us – the audience. The value of the performance now lies in what we take away from it. As Miranda states the final line: ‘I am not throwin’ away my shot’ and the cast lines up in unison, the backdrop of the performance changes to what appears to be a mock of the White House. The bright white lights highlight the uniformed silhouette of the cast, declaring their final message of collective resistance against American political failure.

Against the backdrop of this reunion, America is swarming with anti-ICE protests advocating for the lives and dignity of people being ripped away from their families and livelihoods

With the continual devaluing of the arts and the rise of anti-intellectualism, performances like these, and the recognition that art is political, is imperative. Against the backdrop of this reunion, America is swarming with anti-ICE protests advocating for the lives and dignity of people being ripped away from their families and livelihoods. The Hamilton performance is just one example of collective resistance relevant to the American and global political sphere today.