By William Wolf

HAMILTON (BROADWAY)  Send This Review to a Friend

Seeing “Hamilton” for a second time after having reviewed it at the Public Theater (see Search), I not only find it dazzles on Broadway, but it offers an opportunity to pay closer attention to what makes the musical click so formidably. The first time around one gets an overall view of its creativity. In a second viewing one can concentrate more on the details of the music, the rap lyrics and the production. The genius of the idea for the show, with book, music and lyrics by Lin-Manuel Miranda, who also stars impressively as Alexander Hamilton, emerges with greater impact.

Who would have thought that you could take American history and package the founding fathers interracially and express their battle for independence with rap and hip-hop? Miranda did, and his foresight is being validated anew. On this return to the show I was able to listen more attentively to the lyrics, which rush at us with the breakneck speed of the show as a whole. They are oh-so clever, from the rhyming to the content, and at times speak to the present, as with the emphasized point that Hamilton was an immigrant. Take that, Donald Trump.

In addition to concentrating on the major characters, on this occasion I was able to more closely scan the great chorus of supporting dancers and singers and further appreciate them as individuals. They are amazing for how hard they work, handle the rapid costume changes and help give the show its perpetual momentum, with the wonderful choreography by Andy Blankenbuehler and astute direction by Thomas Kail. Except for some well-delineated moments when the musical wisely slows for scenes with emotional pull, “Hamilton” is in constant motion.

The novelty of the casting also seems more natural in a repeat viewing. Leslie Odom, Jr. is fabulous as Aaron Burr, who in reference to Hamilton says, “I’m the fool who shot him.” Daveed Diggs makes an impressive Thomas Jefferson. Okieriete Onaodowan is excellent as James Madison. And, of course, there is the magnetic Miranda in the title role.

One major change from the time I first saw the show is Jonathan Groff as King George. I came with fond memories of Brian d’Arcy James’s comically endearing portrait of the king, exasperated by and condescending to the rebels rejecting his love (sarcastically sung). It was a high point. I am happy to report that Groff, who succeeded d’Arcy James at the Public Theater and now is cavorting effetely as the British ruler is a laugh riot with his acting and singing. He is definitely a highlight of this staging.

Moving to the larger Richard Rodgers Theatre has served to give the production more breadth. The scenic design by David Korins is basically the same—a mix of walkways, staircases and a revolving center that combine to give the show range and movement, but also allow for flashes of intimacy abetted by the lighting design of Howell Binkley. If any show deserves a larger space, this one certainly does.

The key women in the saga repeat their captivating performances, Phillipa Soo as Hamilton’s wife Eliza and Renée Elise Goldsberry as her sister Angelica. Their singing continues to be first-rate, as is their penetrating acting.

I don’t want to repeat all that I wrote enthusiastically seeing “Hamilton” originally (you can get that on this site via Search). But I want to make clear how much this enthusiasm has been justified and intensified by what is going on now in the new Broadway venue. It is definitely the show to see this season. The Drama Desk, to which I belong, already gave its award to “Hamilton” as Outstanding Musical last season. Now on Broadway, “Hamilton” looms as the leading Tony Award candidate in new musical category. At the Richard Rodgers Theater, 226 West 46th Street. Phone: 877-250-2929. Reviewed August 20, 2015.

  

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