Top 80 Hamilton Quotes

I came to New York for school, and then I did this amazing show that was received very well, with a great group of people, and I felt like I was creating something that I was really proud of, and then ‘Hamilton’ was my next big thing in New York.

It wasn’t until ‘Hamilton’ that I began to be considered an actor of color, and I really don’t know what to make of it.

‘Rent’ opened up my heart, my senses. I was never the same. I hadn’t been back in that place in the same way since. ‘Hamilton’ put me back in that place.

I don’t cook, and I don’t care to, but Gabrielle Hamilton made me realize that food is about love and connection. And she has had a hell of an interesting life.

It’s interesting that the wondrous ‘Hamilton,’ which I could not be more ecstatic about, has taken a long time to perfect to bring it to Broadway. And it wouldn’t have been possible if it was developed in the commercial theatre from the get-go.

I just have been so surprised and delighted with what has happened with ‘Hamilton.’ It really has been one of the most enchanting experiences of my life.

I did a ‘Children of the Corn’ remake for Sci Fi Channel. I play the Peter Horton role from the original, and Candace McClure from ‘Battlestar Galactica’ is my Linda Hamilton.

Imagine if Lin-Manuel Miranda had tried to do ‘Hamilton’ first in Hollywood. They would have told him, ‘The forefathers weren’t Latino or black. They didn’t speak in hip hop.’ That would never had gotten going in Hollywood ever. But theater let Lin-Manuel him do it, and he created an incredible masterpiece.

I’m sure there are many more people who can identify with failure and hardship in life than with the success of an Alexander Hamilton or a John D. Rockefeller.

I never imagined that Hamilton would be turned into a musical, much less a hip-hop musical. I think I can safely say that that’s the last thing I would have expected.

I feel like my whole career has been a blessing. In particular, the opportunity to be a part of ‘Hamilton’ was life-changing.

The American tradition of Washington and Hamilton and Madison and Lincoln and TR and Pat Buchanan is of economic nationalism – making America an independent, self-sufficient, sovereign forever country that’s able to stand on its own feet.

Going into Hamilton’ already was mind-blowing enough because I hadn’t really done much before that.

I like that Amelie is strange, just like me. I’m happy I’ve gotten to be on this journey following my ‘Hamilton’ journey because they’re so different.

I think ‘Hamilton’ has made me look at myself deeper as an artist and what I’m looking for as an artist.

I didn’t know anything about Eliza when I first got the call about ‘Hamilton.’ Tommy Kail, the director, asked me if I wanted to be a part of it. I knew what he was talking about because I’d seen the video of Lin performing it at the White House for Barack and Michelle Obama.

I would love to play for Leonard Hamilton and follow in the footsteps of my father at Florida State, where he played wide receiver and after a great career as a Seminole was drafted into the NFL.

It’s not about doing something that’s as big as ‘Hamilton.’ That may never happen again, and that’s okay.

I think with ‘Hamilton,’ Lin-Manuel has really blown up the whole casting idea. It’s miraculous. You look at ‘1776,’ it’s a bunch of old white guys and old white chicks. You look at ‘Hamilton,’ and it’s just the faces of America.

The figure of the witch was interesting to me, because of the primal, archetypical witch nightmares I had, even as an adult. But as a kid, it started with Margaret Hamilton in ‘The Wizard Of Oz’ as this inescapable horror.

One of the beautiful parts about Hamilton is it takes these figures that we’ve always revered as figures of antiquity and there’s real blood flowing through their veins. There’s real conflict. There’s real life.

Hamilton’ is as hard a job as anything I’ve ever done. It’s equally rewarding, but it’s very taxing. It’s just so hard physically and emotionally to do it, and it just empties you out.

The first few times I was asked to audition for the part of Angelica Schuyler in ‘Hamilton,’ I turned it down. I was convinced I was too over-the-hill to play a Nicki Minaj-type rapper. When I finally showed up, the role was waiting for me. But I almost missed it.

I get excited to create things that don’t exist in the same world as ‘Hamilton’ because that world is really well done and doesn’t need me to inform it anymore.

That brick that you’re standing on, that foundation that you’re standing on, there’s a brick in there that was placed by someone you never knew, sort of a faceless possibility, but you’re there now. You have an opportunity to put your own brick in there. That’s what it feels like we’re doing with ‘Hamilton’

Young kids who are out there who are upset and angry, they can watch this and realize that you can speak out through your pen and not just with rage and anger, and challenge the people who are telling you things that you don’t like to hear, like ‘Hamilton’ did.

I’ve memorized ‘Hamilton.’

If Hamilton were on Twitter, he would have been a worse oversharer than me.

My harmony is passable but is usually made more eloquent at the hands of Steve Hamilton.

What goes up must come down; I’m not going to be in ‘Hamilton’ forever. Everything I work on won’t have this kind of success.

I did an open call for some random show, and afterwards, they said they wanted to meet me for a thing called ‘Hamilton’s Mixtape.’ I was like, ‘What? That’s not what I auditioned for, but cool, I guess.’

In my vocal, I think you can hear something of my earlier times when I’d sing in subway halls for the echo and perform doo-wop on street corners. But I had a lot of influences, too – singers like Sam Cooke, Brook Benton and Roy Hamilton.

In theater, you can be free. That’s how Lin-Manuel Miranda got to do the most revolutionary piece of theater with ‘Hamilton’: color-blind casting in roles in which they would never cast Latinos if it were a film or TV show. It just goes to show that Hollywood and cable are way behind.

The story of Alexander Hamilton lends itself to hip-hop treatment. Hamilton’s personality is driven and unrelenting, and the music has that same quality. The music and the man mirror each other.

Linda Hamilton is my hero. She was so tough and so strong and so vulnerable at the same time. I think that’s what woman action figures are allowed to be: vulnerable, in a way that women are.

Coming out of ‘Hamilton,’ my patriotic spirit and love for my country is renewed. I think that’s the case for a lot of people. It instills a newly revitalized spirit in terms of learning about the formation of our country.

There was a Burger King in Hamilton, N.Y., where Colgate is, that had three sizes: Small, Medium, and Liter. I would go in there and order a large. And they’d say, ‘We don’t have large; we have liters.’ So they’d make us order liters of cola, which I found to be just anti-American.

When I saw ‘Hamilton,’ it changed my life. It’s one of the most beautiful things I saw on stage.

What built America’s called the American system, from Hamilton to Polk to Henry Clay to Lincoln to the Roosevelts. A system of protection of our manufacturing, financial system that lends to manufacturers, OK, and the control of our borders.

My only responsibility as a playwright and a storyteller is to give you the time of your life in the theatre. I just happen to think that with Hamilton’s story, sticking close to the facts helps me. All the most interesting things in the show happened.

Daniel Tarullo has more power of the U.S. banking system than anybody since Alexander Hamilton. That’s not an exaggeration, by the way.

I can only imagine what the show would have meant to me as a 16- or 17-year-old. I know what ‘Rent’ meant to me in my life, how that show changed the course of my life, and we can only hope that ‘Hamilton’ will have the same effect on a few kids.

Everybody knows that Alexander Hamilton was a founding father of the United States, a young father to be sure: only thirty at the time of the Constitutional Convention and just turned thirty-eight when he left behind his brilliant career as Secretary of the Treasury.

Hamilton was young, dashing, and romantic. He lent himself perfectly to be the star of a musical.

The music you love when you’re a teenager is always going to be the most important to you, and I find that it’s all over the score of ‘Hamilton.’

Hamilton’ doesn’t compare to anything I’ve ever done.

As Alexander Hamilton said in ‘The Federalist Papers,’ law is about the exercise of judgment and not will. Judicial activism is best understood as substituting judicial opinion for the command of law. The law is not an infinitely malleable tool.

Being a part of ‘Hamilton’ is remarkably special. It’s a very powerful show that has spectacular emotional and political relevance.

My husband, Steve Hamilton – an actor/producer and co-Director of the Southampton Playwriting Conference – and I had been working in the theatre in New York for many years.

I didn’t want to see George Hamilton playing me, I wanted the real thing.