Abstract
Abstract This study examines the significance of both John Gay and Lin-Manuel Miranda’s most famous works, where the form is as essential to telling the story as is the story itself, and conventional racial and gender restrictions are defied as a matter of rhetoric. Utilizing working-class music forms as well as the similarly pedigreed, boundary-defying characters of Macheath and Hamilton, Gay and Miranda redefine performance, poetics, patriotism and cultural power. Hamilton follows in the tradition of The Beggar’s Opera (1728) and Polly as a tipping point in cultural history by which subcultures may challenge and reshape prevailing understandings of performance, identity and national mythology.
Sign-in/Register to access full text options 
Free) 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a call
