Playbill ran a feature that stated, ‘Mexodus‘ Has Been Called ‘The Next Hamilton.’ Its Creators Don’t Mind the Comparison.” This comparison is unfair to the two unique but very different productions.
Both do use hip-hop. However, Hamilton has an orchestra. Mexodus uses a looping station. Brian Quijada and Nygel D. Robinson record a musical phrase using instruments varying from a cello to a washboard. They layer different instruments to craft a unique song. Mikhail Fiksel developed a looping system that lets the actors operate 20 microphones and 16 recording buttons positioned around the stage. Mexodus blends hip-hop, gospel, folk, and Mexican music to carry the story forward.
(Courtesy Mexodus)
Both Hamilton and Mexodus portray an aspect of American history. Hamilton is the story of a man whose fingerprints are all over early American history. Alexander Hamilton was a Founding Father, a delegate to the Constitutional Convention, an author of The Federalist Papers, and the first Secretary of the U.S. Treasury. Mexodus tells the little-known history of the Southern Underground Railroad. Brian Quijada told the audience that after gaining independence from Spain, Mexico abolished slavery in 1829 through a series of anti-slavery measures. The revolution that led to Texas’s independence was triggered by the right to own slaves. Slavery was enshrined in the constitutions of the Republic of Texas and later the state of Texas. The Southern Underground Railroad was used by thousands of slaves escaping into Mexico, where Mexican officials and citizens protected them. As Brian Quijada and Nygel D. Robinson sing in unison, “Did you know this shit? We didn’t know this shit! Why? Cuz it wasn’t allowed . . . It wasn’t spoken aloud!”
Brian Quijada and Nygel D. Robinson, co-creators and stars, highlight this part of American history. The story follows Henry, a slave pursuing freedom, and Carlos, his unlikely ally. Their fates become linked. Nygel D. Robinson brilliantly portrays a slave on the run after accidentally killing his master. Brian Quijada brings Carlos to life. He is a former Mexican-American War medic who deserted. He saves Henry’s life. Henry’s farming expertise supports Carlos’ work as a sharecropper. Quijada and Robinson demonstrate how their relationship develops from necessity to friendship. They come to see that they are allies against a common enemy. This fictitious story brings their research to life.
The actors break the fourth wall, dropping their roles as fictional characters to place themselves in history. Quijada tells us a childhood memory of his parents’ fear of a Black neighborhood in Chicago. He points out that “We are not born afraid; we are taught.” Robinson tells the story of his birth. He acknowledges that his career is beyond what his ancestors, some of whom were enslaved, could imagine. He names his ancestors, placing them in the history of America. This moves the story of Henry and Carlos out of the past into the present.
The messages behind Mexodus are even more important today. Trump signed an executive order named “Restoring Truth and Sanity Order.” This is meant to remove “woke” and Anti-American ideology from federal programs. Trump sees this as a necessary fight to “save” American culture and history. The order has resulted in the removal of the history of minorities from our narrative. Howard Zinn, an American historian, warned that “If you don’t know history, it’s as if you were born yesterday. If you were born yesterday, then any leader can tell you anything.” As the authors state, Mexodus presents a “story of the underground railroad that led south/a story we have pass down by word of mouth.” It also shows how past reaches into the present.
One thing that Hamilton and Mexodus have in common is the use of hip-hop. As Lin Manuel Miranda states, “hip-hop’s the language of revolution, and it’s our greatest American art form.” Mexodus confronts the idea of liberty in the United States. As the authors point out, “America forgot she was supposed to welcome all.” They call out for, “No more walls or borders, no more police brutality. No more staying complicit in this twisted reality! Here’s to more years of black and brown solidarity.”
Quijada and Robinson advocate for societal change, stating, “However, liberation in this nation remains challenged as Black and Brown individuals continue to face targeted adversity.” The play urges everyone to act. Robinson asks us, “What are you doing with the days your ancestors earned you?” This question stays long after Mexodus ends.
Mexodus shows us that theater can be a powerful force for entertainment and education. Brian Quijada and Nygel B. Robinson tell a riveting story. The layers of music blend to carry the story forward on a wave of sound. The music reinforces the messages of Mexodus. The ninety minutes with Quijada and Robinson are well spent.
Mexodus is now available to stream exclusively on Audible. Show running through June 14 at the Daryl Roth Theatre.
