Jared Dixon has played the role of Aaron Burr in Lin-Manuel Miranda's Pulitzer Prize-winning Hamilton more than 1,000 times.

The Tony-winning musical, which continues at the Richard Rodgers Theatre, marks Dixon's Broadway debut. He joined the New York company of the international hit—which explores the life of American Founding Father Alexander Hamilton—in February 2023, following his performance in the national tour of Hamilton, where he also played the villainous Burr. Combining his work on Broadway and on the road, Dixon has played the role for nearly four years.

Dixon was also seen as Simba in the national tour of The Lion King and Grady in the national tour of The Color Purple. Audiences around the country have enjoyed his performances in regional productions of Rent, Hairspray, Violet, In the Heights, Sister Act, Ragtime, The Color Purple, and Hello Again.

In the interview below for the Playbill series How Did I Get Here—spotlighting not only actors, but directors, designers, musicians, and others who work on and off the stage to create the magic that is live theatre—Dixon shares how watching other actors (namely Joshua Henry) makes him a better actor, and what Hamilton has to say in today's political climate.

Where did you train/study?
Jared Dixon: As far as acting, my training has been mostly on the job and personal study. My process is mostly informed by the readings and practices illustrated in books by Meisner and Uta Hagen. I do work with coaches for auditions. I studied voice at LaGuardia [High School of Music & Art] along with various coaches throughout my career (including my father, tenor Rodrick Dixon).

Was there a teacher who was particularly impactful/helpful? What made this instructor stand out?
I studied voice and had my first experience acting on stage at LaGuardia Arts HS. My bachelor’s degree is in Liberal Studies with minors in English and Italian. When I graduated, I just started auditioning for any and everything. So, regional theatre and industry readings/workshops were my “program,” since I didn’t attend a conservatory or theatre program.

I learned the craft on the job by watching other actors in the process and independent study in my downtime. The example that stands out most is Joshua Henry, whom I observed during our work on a reading in 2016. I’d looked up to him for his talents, of course, but I knew from seeing his work in shows like Porgy and Bess or Shuffle Along that he was a hard worker with a deep understanding of stagecraft. I knew from playing sports my whole life that you don’t try to be Michael Jordan or Kobe in games; you emulate their work ethic and find your own game.

Getting a peek at his process laid the foundation of what was possible in my work. He came in with so many fresh ideas, adapted to the ever-moving and changing parts of the piece seamlessly, and added so much depth to every moment of rehearsal with such a full-hearted engagement that by the time the presentation came around, his connection to the role was undeniable. What I saw was that his level of preparation was far beyond anything I’d ever attempted or achieved. That week was a major turning point in my early career and set me up for a string of success in auditions and rehearsals. It’s one thing to see the performance, it’s another thing to witness the work.

How did you originally get cast in Hamilton?
My first auditions were in 2016 of Hamilton for general male ensemble, and those auditions progressed over the course of a year to a shot at a contract to standby for Lafayette/Jefferson and Burr. In 2018, I was asked to audition for Burr and unfortunately, I’d just begun my contract as Simba in The Lion King. I declined because I felt there were some things I needed to learn about being a leading man before going back into the room for my dream role. To my surprise, the week that I left The Lion King, Hamilton reached out again to audition me for Burr on the Philip Tour. After one audition, a work session with Alex Lacamoire, with Tommy Kail, and Lin-Manuel Miranda’s approval via video from the audition, I was cast. At the end of 2022, my wife became pregnant. Having toured for nearly seven years, I decided to leave the Philip Tour. Shortly after then, I was offered the opportunity to make my Broadway debut as Burr on February 28, 2023.

What are the challenges/rewards of playing a role for a lengthy period of time—how do you keep your performance fresh?
I’ve performed as Burr for over 1,000 shows. That amount of repetition is both freeing and constricting. At this point, I’m more prepared to be Burr than the man himself would be if he came back to life. My trust in myself for this role is nearly unquestionable. That level of security is hard to hold on to in our field. The challenge is that security can breed complacency. The ease of dropping into autopilot is a daily fight, but that is also how it stays fresh. I just keep my heart open and look for new approaches, new input from my scene partners, new external inspiration, and deeper connections to my love of this show and role. When Kendrick Lamar dropped his diss track “Euphoria” against Drake, Burr became Kendrick Lamar, and Drake was Hamilton. Even if it doesn’t change my actual performance, it gives me something fun to play with. Art, movies, food, books, lived experiences, etc. Any and everything is fuel.

Do you think Hamilton hits differently in the current political moment? What do you think the musical provides right now when many are very cynical about politics?
Hamilton has always had a way of holding a mirror up to America and asking, “Where are we now?” When Trump won the 2024 election, it certainly had an effect on our show and our audiences. How could it not? Some of the themes of his re-ascension to the office—like political in-fighting, sex scandals, and corruption—are present in our show. If there is anything that Hamilton provides right now, it’s an opportunity to realize that if we don’t act, history can and will repeat itself. I just hope we can still rile the spirit of revolution in audiences as we move forward in this chapter of American history. I hope that people who come looking for hope are filled and inspired to go out and act on it.

You were featured on the rotating legacy Playbill covers, celebrating the 140th anniversary of Playbill, this past October. What was your reaction to the covers, and have you kept them?
WOAH!!!! I was speechless. I didn’t know that it was happening, so when I was handed one it really caught me off guard. I took a few to my dressing room and just cried. What an incredible honor?! I still have Playbills from shows I saw when I was in elementary school. To know thousands of people have that Playbill with my face on it and will look back on it for years to come is such a legacy moment.

Check Out the 140th Playbill Anniversary Covers in the Playbill Store

Do you have a dream stage role or stage acting partner?
Burr was my dream role. It was the first role I saw that spoke to me on that level. Now, I want to originate a role just as impactful. That’s my dream. As far as actors I dream of working with, there are many. I’ve always admired Adrienne Warren’s work on screen and stage. I would also jump at the opportunity to trade lines with Leslie Odom, Jr.

What do you consider your big break?
It hasn’t come yet. Hamilton has certainly been the culmination of years of work and has personally affirmed my place in this business. However, I haven’t had that moment of full arrival yet. I don’t think I will until I originate a role or create something of my own.

What is the most memorable day job you ever had?
I worked at a retail store called City Sports. It used to be on 48th and Sixth Ave. It was cool because I was near Times Square, and I’d even run into other actors here and there. Chris Jackson came to get a book bag once. Marlon Wayland came through and bought some gear. I used to meet people from all over the world and sell them sneakers or workout gear, then think to myself, “They have no idea what I’m capable of or who I’m gonna be.” Sometimes I’d get off and walk down to 46th just to be near the Hamilton and The Color Purple marquee. It only paid $8.25/hour, and I worked 40-45 hours a week. I was barely scraping by with help from my family, but working in the area was really potent dream fuel.

Is there a person or people you most respect in your field and why?
That’s easy. Audra McDonald is the most decorated theatre performer, yet she is also the most humble and kind. I watched her pour her heart out in shows like Shuffle Along, Porgy and Bess, or Lady Day, then hit the stage door and spend significant time with each person as if she hadn’t just run a marathon in front of us all. I always thought that if she, of all people, could be that kind, I certainly could and always would, no matter how successful I become.

What advice would you give your younger self or anyone starting out?
If I had a chance to talk to my younger self, I would tell him to carry less weight from the past, look to the future with more hope, and hold the present like it’s the only thing that matters. I’d spent so much time thinking about things I could’ve done or what things could be, that the present moments often got away from me. I didn’t trust that I actually could pull any of this off. When I finally learned to slow down, be present, and cherish the moment that I was living in, I became a happier person and a fuller artist.

What do you wish you knew starting out that you know now?
Auditions are performances. Prepare to the point of understanding, then go beyond preparation to discovery. If you want the job, prepare for the audition like it’s opening night.