This paper examines the reception of Lin-Manuel Miranda’s musical Hamilton (2015) and Mohammed Fairouz’s “operatic revue” The New Prince (2017) within the context of post-truth identity politics. Neither of these stage works aimed for historical accuracy—Hamilton famously uses a racially diverse cast and relies on vernacular 20th- and 21st-century music styles, while The New Prince displays an eclectic musical language and mixes historical figures from incongruous times and places. And yet, both pieces were embraced by critics and audiences as powerful and truthful statements about the nature of power in the era of Brexit and Trump.
|Number of pages
|Published - 2019