There is an old theatre joke about the unlikely prospects of making a hit musical out of the stories of Shalom Aleichem. Of course, that became Fiddler on the Roof, which incidentally is having a major revival this fall. The update would be “what are the chances that there would ever be a historical musical about Alexander Hamilton with most of the songs in rap style?” Truth be told … pretty darn good.
By the Book
I did read the book Alexander Hamilton by Ron Chernow, on which the musical Hamilton is based. It’s one of those non-fiction tomes so chock full of details, you wish it could lose a few hundred pages. Yet what’s amazing about this musical by the gifted, I’d say genius, Lin-Manual Miranda, is how this writer/composer packs so much information into his lyrics that are delivered rapidly without a wasted word. Even if you have not read the book – and presumably, most people in the audience will not have – you will get it. Every word, every detail, every nuance – who the man was, his heart, his drive, his wisdom. In case you don’t recall, Hamilton rose to power an as aid-de-camp to General Washington during the long years of the American Revolution. He became America’s first Secretary of the Treasury, establishing a Federal bank with the ability to mint money and tax citizens for the nation as a whole, forever changing the balance between individual states and the federal government.
Sound like fun so far? It really is. The power of the non-stop story is matched by one rousing production number after another. There is never a dull moment. You root for Hamilton, feel for him, and his family. Never has history felt more relevant or compelling.
Performances
Besides writing the music, lyrics and the show’s book, Lin-Manual Miranda stars as Hamilton. He portrays the precocious Alexander and adult wunderkind with tireless energy, much as we imagine Hamilton must have been. Miranda also shows us his more sensitive side, as he grapples with a world not always ready for him. Hamilton’s nemesis, Aaron Burr, is handsomely and seductively captured by Leslie Odom, Jr. Alexander married well to Eliza Schuyler (Phillipa Soo) – one of three daughters of Philip Schuyler (Sydney James Harcourt) a member of one of the wealthiest Colonial families, a General in the American Revolution and a Senator from New York. Eliza stood by Hamilton valiantly through his triumphs, defeats and ultimately, his death in the duel with Burr. She outlived him by 50 years working to help widows and orphans, and co-founded New York’s first private orphanage. However, it was Eliza’s older sister, Angelica, beautifully realized by Renee Elise Goldsberry, who nagged at Hamilton’s mind and soul.
Daveed Diggs has the wit and charm to play both the charismatic Marquis de Lafayette and reluctant Thomas Jefferson. Christopher Jackson is steadfast as General Washington. Jonathan Groff does a wicked cut up of King George as he dismisses of his unroyal subjects across the Atlantic. The three strong but different Schuyler sisters balance all the male bonding. Phillipa Soo’s naturally cool Eliza, Ms. Goldsberry’s red-hot Angelica and Jasmine Cephas Jones’ charming youngest sister Peggy, have plenty of swagger of their own. Their individual singing voices are beautiful and penetrating.
Singing and Dancing
The contemporary score (music and lyrics) is a mixture of rap, hip-hop and pop ballads that seamlessly blend dialogue and song into a riveting narrative. The gymnastic choreography, by Andy Blankenbuehler, propels the momentum and sense of urgency. Thomas Kail’s direction adds excitement as we follow the threads of various characters as they intertwine across time and place.
This is a youthful production, although mind you, the real people were no older than these performers during the time of the revolution. They are also far more diverse than the white men of Colonial American history. But that only adds to the sense that something new was happening. A revolution indeed!
With a complex story and some adult language, best for children 12 and up.
George A. Wachtel is president of Audience Research & Analysis, A New York City-based market research firm specializing in arts and entertainment.
HAMILTON
Richard Rodgers Theatre
226 W. 46th St., between Broadway and 8th Ave., NY
877-250-2929
