Script Spotlight: The Declaration by K.D. Christensen

The Declaration is a bold, rhythm-driven musical set during the years leading up to the signing of the Declaration of Independence. It is unapologetically inspired by the musical Hamilton, while remaining fully its own production. The purchase of the script includes recordings of the songs designed specifically for practice and then performance. Scriptmore has never offered anything quite like it.

Playwright and composer K.D. Christensen graciously answered a few of our probing questions about how he came up with the project and why he wanted to tell this history in song.

What is your experience as an actor, director, or composer?

I have been a writer and composer for over 40 years.

What energizes you more—writing the songs or telling the story?

What I love is American history. All the significant events leading up to the signing of the Declaration of Independence created the music and songs.

Your musical dramatizes the years between the Stamp Act and the signing of the Declaration of Independence. With Hamilton looming so large over this period, what did you do to set The Declaration apart as its own story and production?

What is unique about The Declaration is that we have, as a part of history, the actual writings of David Ramsay, who was a passionate historian and observer of the revolution and served as a physician and surgeon during the Revolution. He serves as a narrative bridge, providing context, clarity, and emotional resonance as events escalate.

The British response is delivered by none other than King George III. He is charismatic, commanding, and increasingly unhinged. His musical numbers blend satire with menace, offering the British perspective while showcasing the unraveling of imperial control.

In the center of all the action during the Revolution was Thomas Jefferson, a gifted writer wrestling with the moral and political weight of drafting the Declaration. His quiet intensity contrasts with the turbulence around him.

Next was Benjamin Franklin, a statesman who uses humor and diplomacy to diffuse tension. And finally, John Adams, who drives the push for independence with unapologetic conviction, often clashing with others but never wavering in his purpose.

What is your favorite song (or songs) in the musical?

I have several. In the first Act, Thomas Jefferson responds to the British Stamp Act with:
“We ain’t represented—still you set the rent— ‘Taxation without representation’—say it with intent.”

The entire cast then sings:
“No seal on my soul, no tax on my tongue— We print our own future, the ink’s just begun…”

The British reply through King George III:
“It seems the colonies have grown chatty—printing opinions without paying royalties…”

During the Boston Massacre, the cast sings:
“Fire if you dare! … Snowballs turn bullets—chaos there!”

And finally, during the Philadelphia first reading of the Declaration of Independence:
“Read it! Read it aloud! … ‘We hold these truths to be self-evident…’”

Got any favorite lines?

After the signing of the Declaration, it was sent to King George III—with his response:
“‘Free and independent States’? Aha, Oh, bless their rebellious little hearts…”

The cast page calls the ensemble “the heartbeat of the revolution” and notes the size is optional. What’s your advice to a director thinking about casting The Declaration with a small company versus a large one?

For a small company, cast the main characters, and everyone not speaking the direct line can be part of the singing ENSEMBLE, which means a total of around six.

For a large company, cast all the extra characters to become part of the singing ENSEMBLE.

What’s your best advice for an actor—especially a student actor—stepping into Jefferson, Adams, Franklin, or the ensemble who isn’t necessarily trained in rap or spoken word?

This musical genre does not require any of the actors to read music. All the lines have been recorded for the actors to duplicate in private and then rehearsal.

Do you imagine schools making use of your musical for educational purposes for the students, as well as a performance for an audience?

Absolutely. All the lines and characters could be played by students. This is a great and fun way to teach history.