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* Hoo boy -- ''Theatre/{{Hamilton}}'' is so HotBlooded that he gets not just one, but ''five'' separate {{Quarreling Song}}s, and the musical doesn't even cover such historical facts as the real Hamilton's rather prodigious dueling record (''eleven'' individual duel challenges over his just under 50 years, although to his credit not one of them ever reached the field). Consider the above ''Theatre/SeventeenSeventySix'' example and it's really no wonder that the only interaction between Hamilton and Adams in the show involves the latter insulting the former and the former giving a no holds barred ''vicious'' response (though unfortunately, unless you look up the cut rap, you're left to imagine most of it).
** Aside from Hamilton, each of the others in the revolutionary crew seem to be the same, giving their boastful rapping. In real life, Laurens was probably the hottest (blooded, anyway), which is probably part of the reason he and Hamilton were so close.
** And then there's Phillip, who immediately leaps to his father's defence with righteous indignation when he is insulted, while describing how he intends to follow in his footsteps.
** Aside from Hamilton, each of the others in the revolutionary crew seem to be the same, giving their boastful rapping. In real life, Laurens was probably the hottest (blooded, anyway), which is probably part of the reason he and Hamilton were so close.
** And then there's Phillip, who immediately leaps to his father's defence with righteous indignation when he is insulted, while describing how he intends to follow in his footsteps.
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* Ronan in ''Theatre/SeventeenEightyNine'' manages to (1) lose his farm and (2) get himself thrown into the Bastille because he loses his temper at aristocrats at the wrong time.''On two different occasions''.
* Hoo boy - ''Theatre/{{Hamilton}}'' is so HotBlooded that he gets not just one, but ''five'' separate {{Quarreling Song}}s, and the musical doesn't even cover such historical facts as the real Hamilton's rather prodigious dueling record (''eleven'' individual duel challenges over his just under 50 years, although to his credit not one of them ever reached the field). Consider the above ''Theatre/SeventeenSeventySix'' example and it's really no wonder that the only interaction between Hamilton and Adams in the show involves the latter insulting the former and the former giving a no holds barred ''vicious'' response (though unfortunately, unless you look up the cut rap, you're left to imagine most of it).
** Aside from Hamilton, each of the others in the revolutionary crew seem to be the same, giving their boastful rapping. In real life, Laurens was probably the hottest (blooded, anyway), which is probably part of the reason he and Hamilton were so close.
** And then there's Phillip, who immediately leaps to his father's defence with righteous indignation when he is insulted, while describing how he intends to follow in his footsteps.
* Hoo boy - ''Theatre/{{Hamilton}}'' is so HotBlooded that he gets not just one, but ''five'' separate {{Quarreling Song}}s, and the musical doesn't even cover such historical facts as the real Hamilton's rather prodigious dueling record (''eleven'' individual duel challenges over his just under 50 years, although to his credit not one of them ever reached the field). Consider the above ''Theatre/SeventeenSeventySix'' example and it's really no wonder that the only interaction between Hamilton and Adams in the show involves the latter insulting the former and the former giving a no holds barred ''vicious'' response (though unfortunately, unless you look up the cut rap, you're left to imagine most of it).
** Aside from Hamilton, each of the others in the revolutionary crew seem to be the same, giving their boastful rapping. In real life, Laurens was probably the hottest (blooded, anyway), which is probably part of the reason he and Hamilton were so close.
** And then there's Phillip, who immediately leaps to his father's defence with righteous indignation when he is insulted, while describing how he intends to follow in his footsteps.
to:
* Hoo boy - ''Theatre/{{Hamilton}}'' is so HotBlooded that he gets not just one, but ''five'' separate {{Quarreling Song}}s, and the musical doesn't even cover such historical facts as the real Hamilton's rather prodigious dueling record (''eleven'' individual duel challenges over his just under 50 years, although to his credit not one of them ever reached the field). Consider the above ''Theatre/SeventeenSeventySix'' example and it's really no wonder that the only interaction between Hamilton and Adams in the show involves the latter insulting the former and the former giving a no holds barred ''vicious'' response (though unfortunately, unless you look up the cut rap, you're left to imagine most of it).
** Aside from Hamilton, each of the others in the revolutionary crew seem to be the same, giving their boastful rapping. In real life, Laurens was probably the hottest (blooded, anyway), which is probably part of the reason he and Hamilton were so close.
** And then there's Phillip, who immediately leaps to his father's defence with righteous indignation when he is insulted, while describing how he intends to follow in his footsteps.
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* Ronan in ''Theatre/SeventeenEightyNine'' manages to (1) lose his farm and (2) get himself thrown into the Bastille because he loses his temper at aristocrats at the wrong time.''On two different occasions''.
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HotBlooded characters in theatre.
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* In ''Theatre/SeventeenSeventySix'', John Adams is so hot-blooded that the temperature of the room shoots up to 90 degrees whenever he's around.
* Booth in ''Theatre/{{Assassins}}''.
* ''Theatre/CyranoDeBergerac''.
* In ''Theatre/{{Electra}}'', the title character's passion is her FatalFlaw.
* In Music/RichardWagner's ''Theatre/TheRingOfTheNibelung'', it's ironic for Siegfried to talk about Fafner's blood burning like fire, given that he spent the end of the first act hammering on Nothung while singing at the top of his voice ("Hoho! Hoho! Hohei!")
* Creator/WilliamShakespeare:
** Caius Marcius Coriolanus from ''Theatre/{{Coriolanus}}''. He is the badass who runs into a city ''without backup'' and comes out a) alive, b) victorious, and c) covered in blood and thrilled with it. And that's just the first act.
** Hotspur from ''Theatre/HenryIV, Part 1''.
** Mercutio in ''Theatre/RomeoAndJuliet'' exemplifies this: he exists in a state of constant, violent enthusiasm, whether [[CharacterFilibuster soliloquizing]], reveling, or dueling to his own death.
*** Tybalt also seems to fit the bill: we only ever see him fighting or preparing to fight, but boy, is he enthusiastic about it.
*** Romeo himself is actually not that far off: he can at least keep up with Mercutio's [[HurricaneOfPuns punnery]] and hijinks, and he may be moody, but he ''really'' commits to those moods.
** Gratiano, the Id out of Theatre/TheMerchantOfVenice's FreudianTrio, is always loudly and passionately expostulating on whatever issue he's just decided to care about.
* Hoo boy - ''Theatre/{{Hamilton}}'' is so HotBlooded that he gets not just one, but ''five'' separate {{Quarreling Song}}s, and the musical doesn't even cover such historical facts as the real Hamilton's rather prodigious dueling record (''eleven'' individual duel challenges over his just under 50 years, although to his credit not one of them ever reached the field). Consider the above ''Theatre/SeventeenSeventySix'' example and it's really no wonder that the only interaction between Hamilton and Adams in the show involves the latter insulting the former and the former giving a no holds barred ''vicious'' response (though unfortunately, unless you look up the cut rap, you're left to imagine most of it).
** Aside from Hamilton, each of the others in the revolutionary crew seem to be the same, giving their boastful rapping. In real life, Laurens was probably the hottest (blooded, anyway), which is probably part of the reason he and Hamilton were so close.
** And then there's Phillip, who immediately leaps to his father's defence with righteous indignation when he is insulted, while describing how he intends to follow in his footsteps.
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* In ''Theatre/SeventeenSeventySix'', John Adams is so hot-blooded that the temperature of the room shoots up to 90 degrees whenever he's around.
* Booth in ''Theatre/{{Assassins}}''.
* ''Theatre/CyranoDeBergerac''.
* In ''Theatre/{{Electra}}'', the title character's passion is her FatalFlaw.
* In Music/RichardWagner's ''Theatre/TheRingOfTheNibelung'', it's ironic for Siegfried to talk about Fafner's blood burning like fire, given that he spent the end of the first act hammering on Nothung while singing at the top of his voice ("Hoho! Hoho! Hohei!")
* Creator/WilliamShakespeare:
** Caius Marcius Coriolanus from ''Theatre/{{Coriolanus}}''. He is the badass who runs into a city ''without backup'' and comes out a) alive, b) victorious, and c) covered in blood and thrilled with it. And that's just the first act.
** Hotspur from ''Theatre/HenryIV, Part 1''.
** Mercutio in ''Theatre/RomeoAndJuliet'' exemplifies this: he exists in a state of constant, violent enthusiasm, whether [[CharacterFilibuster soliloquizing]], reveling, or dueling to his own death.
*** Tybalt also seems to fit the bill: we only ever see him fighting or preparing to fight, but boy, is he enthusiastic about it.
*** Romeo himself is actually not that far off: he can at least keep up with Mercutio's [[HurricaneOfPuns punnery]] and hijinks, and he may be moody, but he ''really'' commits to those moods.
** Gratiano, the Id out of Theatre/TheMerchantOfVenice's FreudianTrio, is always loudly and passionately expostulating on whatever issue he's just decided to care about.
* Hoo boy - ''Theatre/{{Hamilton}}'' is so HotBlooded that he gets not just one, but ''five'' separate {{Quarreling Song}}s, and the musical doesn't even cover such historical facts as the real Hamilton's rather prodigious dueling record (''eleven'' individual duel challenges over his just under 50 years, although to his credit not one of them ever reached the field). Consider the above ''Theatre/SeventeenSeventySix'' example and it's really no wonder that the only interaction between Hamilton and Adams in the show involves the latter insulting the former and the former giving a no holds barred ''vicious'' response (though unfortunately, unless you look up the cut rap, you're left to imagine most of it).
** Aside from Hamilton, each of the others in the revolutionary crew seem to be the same, giving their boastful rapping. In real life, Laurens was probably the hottest (blooded, anyway), which is probably part of the reason he and Hamilton were so close.
** And then there's Phillip, who immediately leaps to his father's defence with righteous indignation when he is insulted, while describing how he intends to follow in his footsteps.
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