Unit 2 further unpacks six state-sanctioned cultural values underpinning ideas of ‘American exceptionalism’. Each session will examine the ethos as espoused by America’s Founding Fathers, then assess case studies in which the norm has been prominently exhibited and/or hypocritically applied. Particular attention will be paid to how both compositional style and storytelling narratives have evolved in musical theatre over the past century to more honestly engage with these issues.
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Republicanism: The Myth of Mutiny
This session kicks off Unit 2, during which the class will unpack six state-sanctioned cultural values that underpin ideas of ‘American exceptionalism’. First up is the value most obviously associated with the founding of the United States: republicanism and its association with independence from Britain.
Several full-length musicals have focused on the US’ origin story. 1776 centres around John Adams and is a fairly traditional book musical; more recently, Hamilton has popularised the integration of rap in musical theatre and generated new audiences for the art form.
Liberty: The Myth of Manumission
In Hamilton, Thomas Jefferson (originally portrayed by Daveed Diggs) raps “Life, Liberty and the pursuit of Happiness: We fought for these ideals, we shouldn’t settle for less.” But just how frequently in history has America settled for less?
Various musicals tackle issues of slavery, internment, and imprisonment. A recent production at London’s The Young Vic showcased the powerful story of Nelson Mandela. American stories are told in shows like Allegiance and The Scottsboro Boys.
Egalitarianism: The Myth of Meritocracy
In the musical Ragtime, newly arrived immigrant Tateh happily proclaims “Here in America, anyone at all can succeed”...only to quickly discover poverty and disease in the crowded tenements of New York. Yet spurred on by the need to care for his daughter, he begins selling silhouette pictures - and by the end of the show, he’s become a wealthy filmmaker...the perfect American Dream story.
But not all musical characters get their happy ending. Shows like The Color Purple and Rent portray themes of systemic injustice, challenging our illusions of meritocracy.
Laissez-Faire: The Myth of Market Freedom
In Hamilton, James Madison complains that “Hamilton’s new financial plan is nothing less than government control.” America’s Founding Fathers were far from united about fiscal policy; divergent approaches continue to shape contemporary politics.
Shows like Newsies, Thoroughly Modern Millie, and I Can Get It For You Wholesale chronicle major moments in US economic history.
Democracy: The Myth of Marching
George Washington once reflected that “our new Government seemed to be the last great experiment for promoting human happiness...”; Alexander Hamilton believed that “Real liberty is never found in despotism or the extremes of democracy, but in moderate governments.”
The Founding Fathers wrote extensively — and contradictorily — on the subject of democracy. The same celebrations and tensions have been heard in a variety of stage shows, from Shuffle Along to Hairspray to SUFFS.
Individualism: The Myth of Me
“I celebrate myself, and sing myself” wrote American poet Walt Whitman. “Song of myself” is one of his most famous, and most analysed. Like much of US history — and many American musicals — its emphasis on individualism is sometimes paradoxical with its attention to the collective.
Claims about the inherent worth of the individual are fundamental to American society, and celebrity culture reflects self-centric autonomy, even amidst the blatant contradictions that arise from demographic marginalisation. These themes are seen in many a stage show, from Cabin in the Sky to Tina: The Tina Turner Musical.
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