Ishmael Reed's New Play Written to Haunt 'Hamilton' Creator

New Yorker's Hua Hsu reports back from a public reading of Ishmael Reed's new play, "The Haunting of Lin-Manuel Miranda," mounted this past weekend at the Nuyorican Poets Cafe on Manhattan's Lower East Side. Hsu's review begins with a little context to inform our understanding of the production, which might also serve as commentary about the state of politics at large: "Consensus and bipartisanship seem like a distant fantasy in today’s America." From there: 

“Hamilton,” the musical created by Lin-Manuel Miranda that débuted in 2015 and is well on its way to becoming a billion-dollar production, is a rare source of general accord. Miranda’s hip-hop-inspired telling of Alexander Hamilton’s rags-to-riches rise is all things to all people: a humanizing portrayal of the Founding Fathers that has just enough irreverence—in its soundtrack and, crucially, in the casting of performers of color in the roles of Hamilton, Jefferson, Washington, et al.—to lend it an air of subversion. Barack Obama once joked that it was probably the only thing that he and Dick Cheney agreed on.

There have been a few notes of dissent along the way, though, particularly from historians. Perhaps no one has been as constant in his criticism as the writer Ishmael Reed. In August, 2015, he published a piece on the Web site CounterPunch accusing Miranda of smoothing over Hamilton’s slave-owning past and overlooking his involvement in the genocide of Native Americans. He insisted that the African-American and Latino actors who were cast must have been “ignorant” of Hamilton’s history; otherwise, they surely would not have helped burnish the legacy of someone who probably hated them. “Can you imagine Jewish actors in Berlin’s theaters taking roles of Goering? Goebbels? Eichmann? Hitler?” he wrote. He published another piece on CounterPunch, about the play’s rapturous treatment in the mainstream press, less than a year later.

Reed, who moved to New York City in 1962, when he was in his early twenties, and co-founded a biweekly underground newspaper called the East Village Other, has described his own writing as “combative.” He has published dozens of books—of fiction, nonfiction, poetry, drama—and is most famous for his satirical novels, including “Mumbo Jumbo,” from 1972, about a conspiracy to stamp out a joyful, liberating virus propagated by black artists, and “Flight to Canada,” from 1976, which comes off as a trippy, inside-out rewriting of “Uncle Tom’s Cabin.” Reed’s works are rooted in a meticulous study of slavery, black performance, and political revolution, but he shapes these materials into sweeping, manic stories that are preposterous and perverse, because they try to make sense of a country that, in its founding, normalized the most preposterous and perverse institution imaginable. Even as Reed has become part of the canon himself, he has remained prickly, resisting attempts to assimilate his work into any story that flatters American progress.

This past weekend, Reed held a public reading, at the Nuyorican Poets Cafe, of a two-act play he’s written titled “The Haunting of Lin-Manuel Miranda.” (He is still raising money for a proper production.) It is, essentially, Reed’s first CounterPunch piece come to life, with a structure nicked from Dickens’s “A Christmas Carol.” In the play, a fictionalized and comically exasperated Miranda is harangued by a procession of ghosts: slaves owned by Hamilton’s in-laws, Native Americans absent from the story that the musical tells, an indentured white servant, Harriet Tubman. Perhaps they are embodiments of Miranda’s conscience—or perhaps, the play suggests, they are by-products of the Ambien that his agent has given him, to help him chill out as they plot their next blockbuster. Throughout these hauntings, Miranda is presented as entirely ill-equipped to deal with any fact-checking, always deferring to his musical’s main source, Ron Chernow’s biography “Alexander Hamilton,” published in 2004. Miranda’s gullibility is a repeated gag, and it went over reliably well with the Poets Cafe crowd. “Hello?!” he earnestly replies to one of the ghosts, in an exchange about Chernow. “He’s a prize-winning historian!” Another time, he simply yells, “But Ron Chernow!” (Reed, who read the part of Miranda’s agent, giggled when one of the ghosts eviscerated Miranda for his “corny” rhymes.)

Continue reading at the New Yorker.