Reflecting on a Night with “Hamilton”
Ten years ago, I found myself in a dimly lit Public Theater in downtown New York, surrounded by an eager crowd, just waiting for a new play titled “Hamilton” to begin.
Back then, Lin-Manuel Miranda’s hip-hop musical was far from the cultural phenomenon it is now. There were no official cast recordings or Disney+ streams, and honestly, nobody in that audience had a clue about what lay ahead. The buzz was mostly from previous workshops in select locations, with whispers suggesting it was “the next big thing.”
A pansexual Latina Anne Frank, an Afro-Caribbean tiger mother, and a chronically “nervous” closeted father? It’s a little much, isn’t it?
Transforming the Narrative
The hours that followed were filled with captivating, if unconventional, lyrical brilliance. Miranda took historian Ron Chernow’s lengthy biography of Alexander Hamilton and turned it into an engaging, pop-culture-inspired narrative about the dawn of America.
Perhaps the most striking choice made by Miranda was his decision to have mostly Black and Latino actors portray the Founding Fathers. Some critics raised eyebrows at seeing “people of color” playing historical figures associated with slave ownership, yet the majority admired the bold creativity behind it. Retelling the American story with a diverse lens? Now, that’s revolutionary.
As we left the theater, there was a shared excitement. It felt like we had encountered something truly innovative. If Aaron Burr could be Black and Hamilton Puerto Rican, what other possibilities were out there?
Questions Unanswered
Fast forward eight years, and lyricist Andrew Fox stumbled upon some fresh ways to explore these questions. This happened via a now-deleted Twitter thread from 2022 that posed inquiries many had never considered before, including: Did Anne Frank ever acknowledge her white privilege?
Of course, the online conversation quickly spiraled into a toxic mix of racial division and sterile discourse. This made Fox realize that talking alone wouldn’t suffice. Like “Hamilton,” it requires the medium of musical theater to resonate with hearts. He decided to further Miranda’s idea of non-white casting by envisioning a reimagined Anne Frank as a person of color.
Thus, Fox and librettist Joel Sinensky embarked on a transformative journey, turning “The Diary of Anne Frank” into “Slam Frank,” a bold, multi-racial, genderqueer, decolonized, anti-capitalist hip-hop musical celebrating Afro-Latinx identities.
Initially slated for a brief three-week engagement at a small off-Broadway venue, “Slam Frank” has been so successful that its run has now been extended through December.
Mixed Reactions
Curious to see the audience mix? Just look at the crowd at each performance—septum piercings, Patagonia vests, and all manner of glasses all sitting side by side.
Believe it or not, even liberals are enjoying “Slam Frank,” though it has drawn the ire of some peers. “This whole project is just grotesque,” one critic expressed, suggesting that bringing the Holocaust into the discussion without addressing current events feels off.
The irony here is compelling. I can imagine critics who usually support diversity swapping other historical figures’ racial or gender identities with enthusiasm. But a pansexual Latina Anne Frank? That seems to cross a line for some.
A Genuine Work
The show’s early promotions posed a simple yet profound question: “Is ‘Slam Frank’ a real musical?”
The answer? Absolutely. “Slam Frank” is not just a series of trendy social media gimmicks; it’s a full-length show performed regularly in New York.
Having witnessed it myself, I can confirm that “Slam Frank” isn’t merely a theatrical endeavor; it’s a testament to compelling storytelling. Its smart combination of humor and genuine emotion, alongside well-crafted music, calls to mind works like “The Book of Mormon” and “Avenue Q.” Still, there’s a level of political commentary that can make one squirm, pushing typical college activism to some extreme ends.
The finale is so straightforward that many might miss the satire. Yet, even those who grasp the underlying joke might notice how easily it can be misconstrued as overly politically correct. Regardless of the clear “message,” the creators are not putting it out there with a hammer. “Slam Frank” treats the audience with the amusement of knowing they might get offended however they please. How thoughtful.
