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HAMILTON Send This Review to a Friend
The praise you may have been hearing for “Hamilton,” the new historical musical, is absolutely justified. This rap and hip-hop treasure, with book, music and lyrics by Lin-Manuel Miranda, who also stars in the title role, is exhilarating and immensely inventive. It takes over the Public Theater stage with unbounded energy and cleverness and daringly succeeds in surveying America’s revolutionary era with its ultra-modern music and rap lyrics that illuminate our history through a unique perspective. The Public Theater is to be congratulated for staging “Hamilton,” and plaudits are due the entire company, from the leading players to the song and dance ensemble consistently igniting the fire of raging creativity.
I came to the show somewhat skeptical, as rap has not been one of my favorite forms of expression. American history told that way? But right at the outset the show captivated me, partly for the wit of the lyrics, and also for the sheer exuberance of the music, enhanced by the choreography of Andy Blankenbuehler and the zestful direction by Thomas Kail. The production is so dense with ideas and talent that one might want to see it again. Good luck—this is a very hot ticket. Miranda was inspired by the book “Alexander Hamilton” by Ron Chernow, and what that inspiration has wrought reflects Miranda’s acute insight into what can make for outstanding, unusual entertainment.
Miranda has been appreciated in the past for his work in “In the Heights,” but “Hamilton” surpasses that show in its range and impact. As for his playing Alexander Hamilton, he stands out superbly as a musical star. Ethnicity knows no boundaries in this splash of history. Anybody can play anybody in this hip-hop world. (Hamilton emerged from the Caribbean island Nevis.) In the entourage of assorted characters figuring in the story Leslie Odom, Jr. plays Aaron Burr, Daveed Diggs is both Thomas Jefferson and the Marquis de Lafayette. Okieriet Onaodowan portrays both James Madison and Hercules Mulligan, Anthony Ramos is Philip Hamilton, and Jasmine Cephas Jones doubles as Peggy Schuyler and Maria Reynolds, with Renée Elise Goldsberry as Angelica Schuyler. Christopher Jackson plays George Washington, and Phillipa Soo is extremely touching as Hamilton’s wife, Eliza.
The funniest turn is by Brian D’Arcy James as King George III, a laugh riot with his reactions to the American revolution and its consequences. His lyric delivery is funny in itself, and he uses his voice in a rolling, nonsensical manner that goes with his repertoire of facial expressions and body language. It’s a performance that is charmingly crazed.
The numbers become a framework for the examination of key events and relationships, and reflect the excitement of all that was happening, including the various conflicts and tactics. Of course, the end result is tragic--the duel between Burr and Hamilton that left Hamilton fatally shot. Given all of his talents and achievements as a financial wizard, it seems like a terrible waste apart from the loss on purely human terms.
The action takes place on a stage with mobile platforms with staircases and a rotating center section (scenic design by David Korins), deft lighting (design by Howell Binkley), stunning costumes that are a mix of period and contemporary (costume design by Paul Tazewell), hair and wig design by Charles G. LaPointe and sound by Nevin Steinberg. Orchestrations and music direction are by Alex Lacamoire, with arrangements by Lacamoire and Miranda. A host of others in the production realm also merit credit.
So does the Ensemble, the hard-working members of which deserve individual recognition: Carleigh Bettiol, Ariana Debose, Sydney James Harcourt, Sasha Hutchings, Thayne Jasperson, Jon Rua, Seth Stewart, Betsy Struxness and Ephraim Sykes.
A long-life can safely be predicted for this show, now scheduled at the Public through May 3, but which ultimately should turn up on Broadway. It is that special. At the Public Theater, 425 Lafayette Street. Phone: 212-967-7555.
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