Review: Broadway Across Canada's HAMILTON at the National Arts Centre

Hamilton, the show by Lin-Manuel Miranda that took the musical theatre world by storm when it debuted in 2015, is a retelling of the events leading up to and after the American Revolution and the ideological foundations of what is now the United States. The show features a cast of predominately Black and Brown actors and incorporates a never before seen fusion of hip hop, R&B, jazz, pop, and traditional Broadway showtunes that has paved the way for a new generation of musicals. You may wonder if the hype surrounding Hamilton is warranted; I assure you that it is.

Coming to our nation’s capital a time where Canadian audiences may find themselves at odds supporting a show from and about the United States, it might help to recognize some similarities between Alexander Hamilton’s world and our current geopolitical environment. The American Revolution was sparked by the British Crown taxing its colonies heavily to raise revenue in order to offset the cost of their defense and to assert more control over them, while the monarchy's own lavish spending went unchecked. Does this sound eerily familiar? Separation from England conjured up ideals of liberty, self-government, political and social equality (including the abolition of slavery). Alexander Hamilton and his contemporaries were willing to die for their cause and, eventually, other nations also took up arms against Britian with the hopes of making the world a better place.

Hamilton's Angelica tour has an outstanding cast and ensemble. Performances are strong and actors include subtleties that make this show stand out from others. Tyler Fauntleroy shines as Alexander Hamilton; not only does he have the perfect look, charm, and vocal ability to take on the title character, he also has superb acting skills. Fauntleroy’s chemistry with both Lauren Mariasoosay’s loyal and gentle Eliza and Lily Soto’s sultry Maria Reynolds is undeniable. Jimmie “JJ” Jeter plays a simultaneously sympathetic and unsympathetic Aaron Burr, his dedication to the character is especially palpable during the powerful, emotionally charged “Wait For It”. A.D. Weaver is a stalwart George Washington, contrasting nicely with Paul Louis Lessard’s King George III, whose comedic timing makes an already hilarious role even more so. Nathan Haydel plays Philip Hamilton with an extra dose of youthfulness that I haven’t seen in other productions, allowing them to emphasize Philip’s naïveté and impulsiveness. Marja Harmon has lots of experience playing Angelica, her talent most evident during “Satisfied”, one of the show’s most brilliantly staged numbers that portrays her character’s internal conflict and unlimited love for her sister.

Another thing that cannot be underestimated is the incredible talent of the ensemble. They provide a multitude of subtle, but crucial, details throughout the show - like the death of Alexander Hamilton’s cousin, or the path a bullet takes on its way to a target - they are the lifeblood of the show; without them, Hamilton would not be nearly as successful as it is.

Hamilton’s set is on two levels, with wooden staircases, ropes, and pulleys reminiscent of a ship. This ties with the fact that Hamilton was born in what is now Saint Kitts and Nevis, and arrived in his adopted homeland by sea, and is also a visual reminder of the slaves who unwillingly accompanied the Europeans to America. The backdrop is a brick wall, a symbol of the cornerstones of the young country being built brick by brick.  At the centre of the stage is a large turntable that allows the actors to circle around each other and is used to create some spectacular moments on stage.

For me, Hamilton is a rare gem of a show, where every single song of the score is incredible. I am now chagrined to admit that I initially hesitated to see the musical because it was hyped up as a hip hop and rap show, two genres that I generally dislike. The truth is that the show’s songs are a fusion of genres; the catchy and memorable tunes are coupled with meaningful, passionate, and historically based lyrics ("Right Hand Man" even makes reference to General Montgomery catching "a bullet in the neck in Quebec"). Ironically, my exposure to Hamilton gave me an appreciation for rap and hip hop that I would never have dreamed possible.

Every aspect of this show is filled with symbolism, and the story is remarkably accurate to history. If you didn’t get the chance to see it when it was in Ottawa in 2022, don’t throw away your shot to raise your glass to freedom and see for yourself why Hamilton is considered one of the greatest musicals of all time.