Review: HAMILTON at Broadway Across America

Let’s face it—this show is a phenomenon. It’s fascinating, and whether you love it or leave it, people are going to flock to the theatre to see it—if only just to say they have. This production, specifically, was tight, so don’t miss your shot!

• This was my first time seeing the show live. I had watched the original Broadway cast recording when it was released on Disney’s streaming platform. I enjoyed it but didn’t entirely understand the overwhelming hype. Admittedly, though, this show hits way differently in person.
• It all began during a vacation when Lin-Manuel Miranda picked up Ron Chernow’s biography Alexander Hamilton. Seeing as how it’s over 800 pages long, I find it pretty impressive that this was the tome he chose for a beach read. Most people go for something a little lighter—both in subject matter and actual weight.
• There are a lot of similarities and parallels between HAMILTON and Les Misérables—both are historical period pieces, love stories unfolding against the backdrop of political and social uprisings, and both feature spectacularly staged numbers involving large ensembles. I love that HAMILTON takes such a modern approach to its material—most notably through its extensive use of rap.
• With that in mind, at times, it can be difficult to understand what people are saying. That’s just the truth, especially for those who aren’t as familiar with rap as a genre. I heard people around me (and during intermission) saying they couldn’t always make out the lyrics. Sometimes, this was due to the chorus overpowering the soloist; other times, the words were simply coming too fast, weren’t enunciated clearly enough, or both.
• That being said, I also realized that it didn’t really matter. This is something that happens in rap music in general, but fans of the genre don’t have an issue following along. Plus, HAMILTON does such an incredible job of conveying its story through emotion and movement that even when some lyrics are lost, the overall meaning is still clear. The choreography, in particular, works overtime to fill in the gaps.
• That said, there were noticeably fewer seats occupied after intermission during this sold-out opening night.
• Miranda employs some smart (and time-tested) musical techniques, also seen in Les Mis and in the work of classic composers like Sondheim. Recurring themes and motifs are assigned to specific characters and then reworked throughout the show to heighten emotional beats. A great example is “Helpless” and its counterpart moments between Eliza and Alexander, as well as the songs between the Schuyler sisters. There were also subtle glimmers of In The Heights woven throughout the score, which I really enjoyed.

• This was the hardest-working cast I have ever seen, but a few standouts deserve special mention:
  • Angelica Schuyler (played by Marja Harmon)
    The Schuyler sisters’ chemistry (both onstage and vocally) is a joy to watch, and Harmon’s voice is bright, beautiful, and deliciously voluminous.
  • Eliza Schuyler Hamilton (played by Lauren Mariasoosay)
    A powerhouse vocalist and a captivating actor, Mariasoosay delivers a performance that spans the entire love-and-loss spectrum. Absolutely fantastic.
  • King George III (played by Justin Matthew Sargent)
    It’s no small feat to take on a role so famously originated by Jonathan Groff, but Sargent stays true to its essence while still injecting his own comedic touches to make it his own.
  • Marquis de Lafayette/Thomas Jefferson (played by Jared Howelton)
    Playing two wildly different characters is a challenge in itself, but Howelton makes each distinct while maintaining a strong physical comedy throughline between them.
  • George Washington (played by A.D. Weaver)
    Weaver has stage presence for days. His portrayal of Washington and the complexities of his relationship with Hamilton make for some compelling moments.