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Review Roundup: Critics Weigh-In on the New National Tour of HAMILTON

Review Roundup: Critics Weigh-In on the New National Tour of HAMILTON

A Second National Tour of the Broadway musical Hamilton has hit Seattle and is prepping to bring the revolution across North America. Performances have begun, so let's see what the critics had to say!

This new company continues the remarkable run of Hamiltonproductions that have rolled out since the musical first opened on Broadway in 2015. A Chicago company opened in September 2016; the First National Tour began performances in San Francisco on March 10, 2017; and the London company premieres November 2017 at the Victoria Palace Theater.

HAMILTON is the story of America's Founding Father Alexander Hamilton, an immigrant from the West Indies who became George Washington's right-hand man during the Revolutionary War and was the new nation's first Treasury Secretary. Featuring a score that blends hip-hop, jazz, blues, rap, R&B, and Broadway, Hamilton is the story of America then, as told by America now.

With book, music and lyrics by Lin-Manuel Miranda, direction by Thomas Kail, choreography by Andy Blankenbuehler and musical supervision and orchestrations by Alex Lacamoire, Hamilton is based on Ron Chernow's biography of Founding Father Alexander Hamilton. The musical won eleven 2016 Tony Awards including Best Musical, Score, Book of a Musical, Direction of a Musical, Choreography and Orchestrations. Mr. Miranda received the Pulitzer Prize for Drama for Hamilton.


Jay Irwin, BroadwayWorld Seattle: Morales definitely starts off more subdued than you may be used to, but he gives himself so much more room to grow within his story arc and he does so beautifully. Walker has enough presence for 10 Burrs making him super likable yet, well, not as he's "the villain in our story". Ta'Rea Campbell and Shoba Narayan are each devastatingly powerful as Angelica and Eliza Schuyler but both in their very individual ways. And I have to mention how much Narayan broke my heart throughout with her journey. Marcus Choi is not the George Washington I'm used to and felt a little underplayed until his final moments that tore the house down. And Jon Patrick Walker was hilarious as the overly doting King George and owned every moment he had.

Rachel Hart, Seattle Magazine: The show is not a carbon copy of the Broadway version. But as whole, as a stage production, it's still so much fun and just plain fantastic to see. You miss so much just listening to the soundtrack; it's sometimes hard to tell who is singing which part; seeing it in person brings clarity. The staging is pretty simple and static, save for some props brought on and off stage, but experiencing the killer choreography (those turntable floors!) and human architecture is worth the ticket price alone. (Can Hamilton hip hop exercise tapes be far behind?.) This cast still needs a little seasoning, but even with not all parts are perfect, theater-goes will appreciate why tickets go for upwards of $1,000 when you see how many people are on stage, how hard the dancers and performers--many of whom are constantly on stage--are working, and how seamlessly it all clips along.

Kerry Lengel, AZ Central: So no, you needn't worry about the quality of the touring cast. Indeed, part of the point of this show is to provide opportunities for actors who, because of the theater world's slow progress in promoting diversity, don't get to strut their stuff as much as their white colleagues. It's a vast talent pool that deserves to be tapped more often.

Lynn Trimble, The Phoenix New Times: You probably won't recognize the actors performing in Hamilton's Gammage run, which continues through Sunday, February 25. But that doesn't diminish the strength of Miranda's Tony- and Pulitzer-winning work.

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