Review: HAMILTON at Fox Cities Performing Arts Center

A decade after it first reshaped the Broadway landscape, Hamilton arrives on tour not as a replica of past success, but as a living piece of American theatre that continues to justify its presence. Recently celebrating its 10th anniversary, Lin-Manuel Miranda’s revolutionary musical still carries the weight of its cultural moment; when hip-hop, history, and a radically inclusive casting vision collided to redefine what a blockbuster could be. What’s striking about this touring production is not just how well the material holds up, but how effortlessly it reminds audiences why Hamilton remains a generational landmark. It continues to solidify its reputation as a show that is both firmly canonized and urgently present, still telling the story of a nation that, in many ways, is perpetually “in the room where it happens.”

While the lighting and scenic design remain largely untouched from the original Broadway blueprint, the storytelling in this touring production feels newly shaped by its performers. Rather than leaning into the relentless percussive urgency that has defined many past presentations of Hamilton, the leading players adopt a more melodic approach to both line and lyric, allowing the language to breathe and the audience to settle in more quickly. This subtle shift in vocal and dramatic interpretation doesn’t dilute the score’s pulse; instead, it enhances narrative clarity and emotional accessibility, offering a fresh take on material that can feel linguistically dense. It’s a different interpretive choice than what longtime fans may expect, but one that proves unexpectedly refreshing, revealing new textures in a show that still has more to say.

Tyler Fauntleroy as Alexander Hamilton brings an energy to the role that feels fueled by ambition rather than ego. Instead of coming across as youthfully pompous, his performance is guided by a genuine pursuit of greatness, which makes the character more relatable and human. His voice is smooth and rich, a welcome change from the sharper, more aggressive sound many audiences are used to hearing in this role. Fauntleroy has a remarkable ability to make every connection matter, pulling the audience into each relationship and moment on stage. At times, he makes you feel like you’re holding your breath with him, and at others, like you’re breathing alongside him; fully caught up in his journey and growth. For the first time in many viewings of this show, Hamilton truly sings the score without losing his drive, offering a fresh, engaging take on the character.

Lauren Mariasoosay, in the role of Eliza, brings a powerful yet deeply grounded presence to the role, fully realized as her own person rather than simply a supporting figure in Hamilton’s story. In many productions, Eliza can feel overshadowed until Act II, but here, Mariasoosay elevates every scene she’s in, making the entire company stronger through her work. Her vocals have a clean, clear edge that suits the role beautifully, and she proves herself a true master of acting the song, finding emotional truth in every lyric. You root for her from start to finish. Moments like “Burn” showcase just how refined her craft is; she holds the audience completely, drawing them in and often bringing them to tears. Her connection with Fauntleroy is undeniable, giving their relationship real emotional weight and making their story one of the most compelling elements of the production.

A.D. Weaver, playing George Washington, brings the kind of gravity that the show desperately needs, anchoring the story with a calm, commanding presence. Unlike some portrayals that lean heavily on formality or intensity, this Washington feels measured and assured, with a natural authority that makes every word and note believable. His voice has a warm, enveloping quality that draws you in, giving the audience a sense of comfort even in the most tense moments. Whether speaking or singing, he makes you trust him completely, providing the steady, grounding force that allows the chaos and energy of the rest of the cast to shine all the more brightly.

A special commendation is due to the understudies and swings who covered many roles of this performance, stepping into demanding roles with remarkable confidence. Far from feeling like a compromise, their work felt passionate and charged.  You can sense that several of these performers are truly thriving in these opportunities, bringing fresh life and commitment to the material. What stood out most was how seamless the much of the coverage felt and in many ways it felt invigorated. 

As an individual who has seen the show many times, I’m drawn to the ensemble. One ensemble member in particular, Daniel Thimm, without ever pulling focus or becoming distracting, was clearly locked into the narrative, elevating every moment of movement and transition with intention and purpose. It’s that level of engagement, where everybody on stage is actively telling the story, that makes a production like this not just impressive, but genuinely exciting to watch. Similarly, Arjay Christina brought an energy that was enchanting. Nothing felt marked or tentative; instead, her work added a steady layer of energy that supported the principals and strengthened the ensemble as a whole. It was the kind of performance that may not demand applause in the moment, but is essential to why the production feels so cohesive and alive.

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