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             1787 We the People Synopsis by scene, for the perspective of potential auditioning players
 
1.0 “Prologue” – opens with the field drum marching cadence, then “British Grenadiers” tune, which is
overlapped and overtaken by “Yankee Doodle” tune. Very short.
 
1.1 Daniel Shays and Jason Parmenter lead the Shays Rebellion marchers to the Springfield, MA,
arsenal in January, 1787, in protest against over-taxation of farmers by their state government: “Shays
Rebellion” – ca. 12-18 marchers, mostly men, in a stormy, stylized pitchfork-stomping march-dance.
Marchers are added along the way. ’Includes overt visual reference to Les Miserables. Fighting erupts
and citizens are killed. In the aftermath, Mollie Pitcher brings water to a fallen man. She sings sadly of
her losses and asks the country’s fathers for relief – “Water from the Well” solo.
 
1.2 Gorham pleads with General Washington for Washington’s participation in the upcoming
Convention. Prospective delegates are introduced, through reading their written letters, agree to attend
the Convention, and goad the General to join them. “We Met Last Summer” – light-hearted barbershop
song and humming underscore for Madison, Hamilton, Dickinson, Randolph, and Read, 4-at-a-time –
evokes intentional homage to The Music Man barbershop quartet. The previous convention had been
poorly attended. Hamilton – always “charging right in” – stresses that the government cannot pay debts,
making the connection between poor economy and resulting uprisings such as Shays Rebellion.
Reluctant, Washington finally gives in to the pressure with a grin.
 
1.3 Providing a glimpse of Madison’s studious drive to prepare for the Convention and Alexander
Hamilton’s regard for Madison, two songs alternate: E Hamilton and A Hamilton sing their lilting dialogue
“I Kind of Like Him” at their home in NY; in contrast, Madison’s driven song “Books” is interrupted
repeatedly by his non-singing, comic servant presenting increasing burdens of books deliveries to
Madison’s study. Madison contemplates the “Great Experiment” with excitement at the prospect.
 
1.4 Younger Lions and Older Patriots introduce themselves to one another as they arrive in
Philadelphia. The young men are brash and daring, the old men reserved. Jackson, the Slave, appears
briefly. Washington relates to Franklin the sad story from 1783, when “The Soldiers Came to Congress”
– Washington solo – to collect for their services, but the government could not pay them. Washington is
concerned that the country is at risk of more in-fighting at any time. Everyone reveres the General. G
Morris boasts of his familiarity with the General, but proves himself not that familiar, to the stifled laughs
of his comrades. A cordial bowing song, “Younger Lions and Older Patriots,” involves spoken and sung
solo lines and choruses for many delegates of PA, NY, VA, MA, SC, CT, and DE. Younger Lions
Hamilton, Madison, G Morris, Randolph, King, Pinckney, and Butler; Older Patriots Wythe, Mason,
Wilson, R Morris, Dickinson, Read, Sherman, Gorham, and Franklin; General Washington dances a
brief jig, dignified but deferent to the others. While the others head off to lodgings or a tavern – singing
arm-in-arm with camaraderie – Hamilton and the Virginia delegation plan for the start of the Convention
and invite Virginia’s Governor Randolph to present Madison’s resolutions. In “A Politician” – Randolph
solo, up tempo, light-hearted, with some mime and dance – he brags of his abilities in skirting
arguments, sounding supportive to both sides of an issue, and so on. He convinces the others that he is
the right choice.
 
1.5 Delegates representing 8 states (adding NC) meet at Independence Hall and argue passionately for
“We the People” and “We the States” – rights for individuals and those of the government – amid
alarming reports regarding states making treaties with other nations, possible separate nations apart
from the Confederation, states taxing their neighbor states, states printing too much worthless money,
states fighting over waterways, problems with the Indians, the ever-present threat of being taken over by
one or another European country – all compelling arguments toward strengthening a central leadership.
The delegates sing/shout their two lines interjected into the argument, which carries over an
instrumental vamp reminiscent of the “Shays Rebellion” refrain. To quell the rancor, R Morris nominates
Washington to the Chair, stunning the assembly to silence. With ceremony and an instrumental
processional, R Morris and Rutledge escort Washington to the Chair and Gorham moves to a seat with
his statesmen, all to the unanimous approval of the delegates. The coda includes an instrumental
reference to Washington’s later line “We’ll have no kings again!” Washington accepts the responsibility
with humility, then recognizes the Committee on Rules, who present the structure under which the
proceedings will be conducted, including maintaining secrecy of discussions, allowing delegates to re-
visit issues at any time, and one vote per state, with each state determining their own rules for a
quorum. Lansing and Yates comment about their NY governor’s assignment to them: to overrule
Hamilton. Secretary Jackson has a non-singing role, speaking in nearly every scene at Independence
Hall; the role is somewhat un-colorful, necessary, ever present.
 
1.6 Randolph presents the resolutions of the Virginia plan for a central government. Sherman, Gerry,
Lansing, and others avow that “the people” are incapable of making good government choices, while
Madison, Wilson, Mason, and others uphold a government by the people. Sherman simplifies the
objects of the Union – defense, treaties, and commerce. Madison illuminates the concept of embracing
the numerous and varied interests of the people, so that no one faction could dominate on a national
scale, and leaving local issues to the existing state governments, all suggesting a peaceful revolution, a
sweeping change from the sovereignty of the several states of the Confederation. The GA delegates
arrive at the end of the scene, apparently “just in time”.
 
1.7 Later, MD and NJ delegates are welcomed to the assembly, and new arrival Paterson objects to the
proposed “popular” representation in congress, which would not serve small states’ interests: VA, PA,
and MA would control everything. Considering a national government, NC is “… still deciding.” Sherman
introduces the notion that the two houses of congress provide a balance – one representing by number
of free inhabitants, and one with equal votes for each state. When the others leave the room, the
“Grumbletonians” continue to grumble in song – sea chantey style, solo lines for a few, Lansing and
Yates are comical.
 
1.8 Back in session, Wilson briefly compares the Virginia and New Jersey plans. Impatient with the
continued disagreements, Hamilton rashly recommends to the assembly that we ought to be “More Like
the British” – Hamilton solo using “British Grenadiers” tune and a musical quote of “Columbia, Gem of
the Ocean” – and, among other things, elect a king. The other delegates boo him to abrupt silence.
 
1.9 In response to Hamilton, Pinckney admonishes the others in the room, reminding the delegates of
their recently hard-won freedoms and the unique nature of American people – different from people of
other countries. “America, the Miracle” – Pinckney patriotic solo with male chorus – includes a musical
quote from “America, the Beautiful”. Most of the delegates eventually join him, first with a few lines of
counterpoint using “Americans Are We” tune, a sign of unity developing among the delegates.
 
1.10 Another day, the delegates argue next about how power should be provided for small states and
large states. To calm the escalating fight, Franklin moves that a sermon be offered the following day, the
4^th of July.
 
1.11 Stepping out of time and place, A Hamilton, E Hamilton, D Madison, J Madison, and Washington –
solos, with full company chorus –  each questions their part in the overall picture and offers a glimpse of
their futures: “Who Are We?/Someday,” memorable, tuneful rock-style song. Each soloist has something
unique for his/her verse or chorus. With Washington’s final demand that “We’ll have no kings again!,”
Hamilton stomps out.
 
Intermission
 
2.0 “Entr’acte” – nearly identical to the “Prologue,” but in minor mode, suggesting that all is not rosey.
 
2.1 At the tavern that evening, G Morris, Dickinson, and Franklin try to console Madison, while Sherman
continues to politic – speaking especially with St. Thomas Jenifer – all amid ale, G Morris’ “ladies” Katie
and Penelope, and a rousing and suggestive chorus of “Yankee Doodle” (Sherman, Ellsworth, Read,
Martin).
 
2.2 Showing some papers left around for curious outsiders, Washington admonishes the delegates to be
more careful protecting the secrecy of their deliberations. Sherman maneuvers delegates toward a likely
compromise on representation for small and large states: St. Thomas Jenifer exits Independence Hall to
“miss” a critical vote and in a polling of delegates, Baldwin votes against his expected choice, thus
dividing the vote for GA. At a stalemate, the subject is moved to committee. While votes for committee
members are counted by Secretary Jackson, the delegates sing “Mister Roger Sherman” – “soft-shoe”
tempo/meter with solo verses for Franklin, G Morris, solo lines for others, chorus of all the delegates –
light-heartedly praising Sherman’s ability to supply political solutions. The votes count in favor of small
states’ rights, and G Morris encourages Madison to accept the expected compromise, which would
require a concession by the large states. The results of the votes are announced, and the group leaves
the room.
 
2.3 The Grand Committee offers their report to the delegates with mixed responses; many are
dissatisfied with the results. The subject of “property” (slaves) is broached by Butler. Lansing and Yates
discover that Hamilton is gone, and they gleefully sing-and-dance “He’s Gone” – comic duet parody on
Mozart’s Eine Kleine Nachtmusik (mvt 1, abbreviated) – before dancing-departing from the convention.
 
2.4 The delegates settle in to work again. Jackson, the Slave, has accompanied Washington and, as he
is leaving, he hangs back to listen to a discussion of slave accounting, allowing each slave to count for
three-fifths of a white man for the purpose of government representation. The Southern States hold out
in compromise – a trade of keeping slavery in exchange for agreeing to Sherman’s Compromise to allow
small states’ rights of government representation. Butler argues that slaves have as much value as free
men. Butler sings of the “Peculiar Institution” of slavery, a system the South depends upon and will not
concede. The brief, dark solo serves as introduction to Jackson singing in soliloquy “Three-Fifths of a
Man” – a show-stopper solo using the tune of “Deep River” – recounting his wretched life and losses,
and suggesting a “bloody silence and a bad, bad violence” coming as a result of continued enslavement.
As he moves around the delegates, they mime their responses – from disgust to apathy, from tacit
acquiescence to agreement.
 
2.5 Langdon (NH) arrives, full of himself, and asks “Have I Missed Anything?” – solo lines for Langdon
and many delegates, with interspersed lines for all delegates. All in good humor and in song, the
assembly reviews for Langdon – and the audience – much of what has transpired already, mostly
delivered in a quick listing of decisions and topics.
 
2.6 Back home in NY, A Hamilton and E Hamilton sing “In Philadelphia” – sweetly romantic duet about
his needing to return to the Convention. E Hamilton supports her husband’s choice, though she clearly
would prefer to have him stay at home. A Hamilton breaks from the duet into “They Need Me” – bravura
solo expounding the importance of a sound economy… and of himself. The endearing couple closes
with a brief return to the duet. The “Yankee Doodle with a hitch” repeated musical quote provides levity.
 
2.7 Welcomed back to the Convention, Hamilton is allowed to participate, but with Lansing and Yates
absent, NY has no quorum and no vote. Ratification of the constitution is determined to require at least 9
state conventions to agree. Though there are objections, all delegates eventually join to sing “We will be
a country” – only a few lines, first for Madison, then for groups of delegates joining in the barbershop-
style tags. The presidency then is discussed: four-year term, minimum age 35, natural-born citizen of
the United States excepting those born prior to the adoption of the constitution – Hamilton, from
Jamaica, provides the joke that there is no record of where he was born – no power to declare war, nor
sign treaties, nor appoint judges, elected by the people but – Sherman recommends – with electors to
balance the power for large states and small states. The delegates eye Mister Washington as the
probable first president. For “What Shall Our Presidency Be” – interspersing the dialogue and
instrumental underscore – a few solo and small group lines are sung by Madison, Randolph, and others,
and all sing the refrain-question together several times. Washington appoints the Committee on Style to
draft the final document: Madison, Hamilton, Wilson, and G Morris.
 
2.8 “In Committee” includes solo and/or group lines for nearly every delegate, starting with Read,
Sherman, then the Committee on Rules (Wythe, Read, Hamilton), Grand Committee (Rutledge, Mason,
Blount, Baldwin, Gerry, Ellsworth, Paterson, Bedford, Martin, Franklin), Committee of Five (G Morris,
Gorham, Randolph, Rutledge, King revised the first version), Committee of Eleven (King, G Morris,
Madison, Sherman, Read, Rutledge, Jenifer, Williamson, Pierce, Paterson – Yates absent – concerned
with the census), Committee of Detail (Wilson, Gorham, Rutledge, Randolph, Ellsworth), Committee of
Style (G Morris, Madison, King, Hamilton), Committee on Postponed Matters (Langdon, comic), and
several raise “loose ends”: Dickinson, Butler, Madison, Ellsworth, Martin, R Morris, Paterson, Gerry,
Mason, others; Martin objects and stomps out. Each group featured in turn sings with some mime and/or
dance as part of a string of musical styles, sort of like an abbreviated dance suite; all sing together the
two-word refrain “In Committee!” – with oblique musical reference to “Tradition!” of Fiddler on the Roof.
 
2.9 Another day, the final document is presented to the delegates. A two-thirds presidential veto replaces
the three-fourths version. Randolph, Mason, Gerry have objections and cannot sign for their individual
reasons. Hamilton introduces the “necessary and proper” clause in a “wink” aside directed to the
audience. Gerry stomps out, the first of several to leave the room. All are frustrated with one or more
aspect or with the assumed lack of support for the finished work. With the proceedings virtually falling
apart, eventually only Madison and Franklin remain on stage. Madison tells Franklin, “I Have Failed” – the
sad solo song serves as introduction to Franklin’s underscored and sung “Dawning of the Day,” in which
he relates his story about the rising/setting sun image on Washington’s chair and how you sometimes
cannot tell the difference. In contrast to “Failed,” “Dawning of the Day” is uplifting – “…it is a rising sun.”
Agreeing with Franklin, Madison joins in at the end of Franklin’s solo. Franklin’s last line and instrumental
accompaniment include an overt musical quote from the last line of “Some Enchanted Evening – … never
let her go” from South Pacific.
 
2.10 Shifting to the next day without a break, the delegates return to continue the work, joining in with
Franklin and Madison at the end of the previous song. Franklin speaks in favor of signing the constitution,
and asks for unanimity of the delegates. With that prospect unlikely, G Morris passes a note to him, and
Franklin amends his recommendation to unanimity of the States present – much to Madison’s relief. A
poll of the States provides the setup for the signing ceremony with a unison humming chorus underscore
“The Soldiers Have Come to Congress” (same tune as Washington’s earlier solo). As they sign, the
delegates form the picture of the famous painting of the signing of the constitution. When it seems that
Virginia will not agree to the constitution, Washington provides the necessary vote, reminding the others
that he, too, is a delegate. After the last signature, cheers erupt. Washington calls for order and
pronounces the document ready for dissemination to the states. All exit except Franklin. As he gazes
upon Washington’s “rising sun” chair again, Mollie Pitcher enters as the Cleaning Woman. She asks
Franklin if we have a country, to which he replies, “Yes… if we can keep it.” She sings “Where Will Love
Be Found?,” a ballad harkening back to her earlier story.
 
2.11 “Ratification” is instrumental underscore of reports in the form of letters to Washington recounting the
progress of state conventions. The reports are interspersed with verses and choruses of parodies on
“Yankee Doodle” sung by various groups of delegates. In underscore and at length, the tune goes
through considerable development by changing its musical surroundings, but the field drum marching
cadence and tune itself remain constant, reflecting the dogged persistence of the political supporters.
When ratification has been reached, the field drum segues to the next scene/song.
 
2.12 “Finale: Americans Are We” begins with a trio for Hamilton, Madison, and Washington, using the
tune of “America, the Miracle”. Other groups are added, singing other tunes from the musical in
counterpoint – “Americans Are We” is second, then “Dawning of the Day,” and culminating with another
parody on “Yankee Doodle” – all 4 tunes in additive synthesis, contrapuntal. Then all – full company,
perhaps some costumed as modern citizens – combine to sing the remainder of “Americans Are We”. The
players enter by groups and sing and march on stage using a marching band-type drill, finishing the last
part of the song facing the audience in a full company front.
 
Bows.
 
Exit music may involve a short sing-along for the audience using a short version of “Americans Are We,”
but only if there is some means of sufficient audience preparation prior to the performance.