NEW YORK (AP) – Since the historic musical "Hamilton" began its march toward near-universal infatuation, a group has visibly withheld its applause, historians. Many academics claim that the portrait of Alexander Hamilton, star of our $ 10 bill, is a counterfeit. Now they are stepping up their fight.Ishmael Reed, who has been nominated twice for a national book award, has chosen to fight fire by fire – collecting her critique of the acclaimed show of Lin-Manuel Miranda in a play. , "The Haunting of Lin -Manual Miranda" is an uncompromising recording of "Hamilton", reminding viewers of the founding father's complicity in slavery and his war against Native Americans. "My goal is that this is a counter -writes text that has been distributed to thousands of students across the country, "said Reed, a professor at California College of the Arts and at the University of California at Berkeley, whose latest novel is "Conjugating Hindi". Reed, whose play was recently read in New York, raised funds for a four-week production in May, is part of a wave of skeptics "from Hamilton" – often lonely voices of dissent in the midst of A wall of fierce attention – who have written newspaper articles, newspaper editorials and a collection of 2018 essays, "Historians on Hamilton". Miranda bluntly describes a Hamilton celebrating the opening of the borders – "Immigrants, we do the work!" – and denouncing slavery has infuriated everyone, from Harvard University professors to the University of Houston via Rutgers. They argue that Miranda is wrong in Hamilton – the founding father was not at all a progressive, his current role as a slave owner was whitewashed and the pro-immigrant figure on stage conceals the fact that he was in fact an anti-immigration elitist. "It's a fictional rewrite of Hamilton – you can not pick the historical facts you want," said Nancy Isenberg, a professor of American history at Louisiana State University, who wrote a biography of the city. Aaron Burr and is the author of "White Trash: The Unpublished History of the Class on 400 Years in America". It is not only the portrait of Hamilton that drew fire. Critics also claim that Miranda's portrait of Burr is horribly distorted and argue that Hamilton's sister-in-law, Angelica Schuyler, was in no way a feminist, as she is described in the musical. Reed considers that "Hamilton" is so problematic that even editing them would be useless. "I think the fix would be to close the series," he said. Reed's play borrows from Charles Dickens in describing a naive Miranda visited by a succession of ghost slaves, Native Americans and contract servants – people whom Reed claims to have never managed to make the award-winning musical comedy by Tony, Grammy and Pulitzer. "What I've tried to do, is to cover the voices that were not present on the stage," said Reed.Reed, who has not seen "Hamilton "but has read, criticizes the musical as being the last entertainment offered to slave owners. . "I say he's the successor of" Gone With the Wind, "he said." But at least in "Gone With the Wind," Hattie McDaniel had a speaking role. "In Reed's play, Hamilton is unmasked as a slave owner who used to work for a slave trading company in St. Croix." You've lived up to your blue eyes in the slave trade since your childhood, "he says.A slave told Miranda that the Schuyler family, in which Hamilton had married Hamilton, was a brutal slave owner and that the life to which they belonged was n & # 39; It was "no musical comedy." A horrified fiction, Miranda, is finally convinced by the evidence, "I have to repair the damage I've done," he moaned at the end. "Because of me, thousands of schoolchildren are trapped intellectually in the same lies as me. "Maybe the real villain of is this work the historian Ron Chernow, who wrote the award-winning biography of Hamilton on which Miranda sided. ("You should have read black books," says a slave to Miranda in Reed's play.) At the end of the play, novelist Chernow advises the fictional Miranda to stop making fuss and simply enjoy their "good bath". Chernow refused. to comment on Reed's critics, and a publicist for "Hamilton" and Miranda also declined comment. However, Miranda said in interviews that he felt bound to be as accurate as possible, but that "Hamilton" is necessarily a work of historical fiction. , including dramatizations and inaccuracies.

Perhaps in a veiled response, critics, producers of "Hamilton" have created an immersive exhibition – to open in Chicago this fall – that promises to "get visitors deeper into life and into the era" from Hamilton. It is unclear how much he will try to correct the impressions of the musical. Annette Gordon-Reed, professor and law historian at the law school, who criticized the show, offers her a historical consultation for the exhibition. She attended a reading of Reed's play and issued a hopeful note that both sides could join. "There is room for my previous comment, the taking of Mr. Reed, the great musical comedy itself, and now a good faith effort to examine the subject of the musical in his film." what the exhibition is for, "she said. For Reed and Isenberg, the omissions and distortions in "Hamilton" are part of a larger problem related to the way founding fathers are described in traditional history. often as flawless and enlightened geniuses. It even has a name: "Chic Founders". Isenberg notes that, from generation to generation, George Washington, Thomas Jefferson and John Adams have been regularly portrayed as adorable patriotic heroes. Now, it's Hamilton's turn. "We always want to reshape the Founders so that they are a mirror for us," she said. "My job as a historian is to dispel misconceptions, not to entertain my students or put people at ease. That's what a good story does. "Isenberg even claims that Miranda went further than Chernow in trying to turn into a progressive Hamilton President Barack Obama, depicting the founding father in a trendy and multicultural person. She notes that he has already bought two slaves for $ 250. "Imagine if one of the songs in the musical cost $ 250," she said. "That would make everyone shiver and scream in the audience and completely undermine the heroic message and the progressive Hamilton they want and want." The criticism of Lyra D. Monteiro jumps from the page to the scene when she notes that three minority actors play the role of current or future president, president of slavery, which obscures "the origins of supremacy white of our country ". "It's a musical about the mythology of the ruling class – that everyone can join," said Professor Rutgers, noting that Hillary Clinton and Dick Cheney are fans. "It's the myth that the ruling class of the United States wants to believe." Monteiro crosses his fingers so Reed gets the support he needs to get his piece up. "I would love to bring my students there," she said. Mark Kennedy is at