He’s Back in the Building!

Laying It Bare

Hamilton is back at Shea’s in a brash and brilliant production that is seamless and riveting from beginning to end. It is a magical night of theater, and heartfelt in its depiction of the people, two of them immigrants, some of them slaveholders, who put their lives on the line for the chance to govern themselves. As idealistic as some were, they were also informed by self-interest, whether for money, power, or their own legacy.

Nothing is held back in Hamilton. Every moment counts. There is no filler, no fat. It transports us back in time while maintaining a modern sensibility throughout. It is the story of our immigrant rags to riches “10-dollar founding father”, infusing hip-hop, reggae, and pop music into this 18th Century tale of the men and women whose intelligence, egos, peccadillos, conflicts, achievements and defeats are laid bare by clearly defined characters in a swirling, non-stop paean to the grit and determination of people joined in a common cause.

Know Your History

The set allows for an open stage with no curtain that uses a turntable to shift people or create a simple tableau that enhances the scene. The play tableau in Act Two is a case in point of the simplicity, yet total effectiveness of this concept. A couple dramatically looking at each other are in front of several people in chairs, while Mr. Eaker sits in his box, which consists of a few chairs on the platform above, when Philip Hamilton confronts him about disrespecting his father. Simple and complete.

The actors and ensemble change scenes so swiftly and precisely, they hardly register. Props appear and disappear as if by magic. Papers fly from one person to another in rapid succession, and then, poof, are gone. Every element is choreographed for maximum effect. Precision is key and is expertly accomplished. Lighting creates moods in blue, purple, and red, while spare use of spotlights intensified the drama.

There is no fat in the book, music or lyrics by Lin-Manuel Miranda, or the production directed by Thomas Kail. The orchestrations by Alex Lacamoire never overwhelm the singers. Mr. Miranda’s words perfectly meld the personal and political. Each character is clearly defined, their strengths, weaknesses and desires clearly stated. He uses curse words sparingly, which make them all the more effective. His characters may burst into complex rhyming punctuated by dance moves and intense energy or sing quite reflective, yet powerful ballads.

Tyler Fauntleroy is excellent as the “young, scrappy, and hungry” Alexander Hamilton. His cocksure young man-on-the-make is full of himself, and shows he has the brains and courage to back up his bravado, and then is able to shift into a more thoughtful Hamilton as life, the years, and his choices catch up with him. He talks less, but unfortunately in the end, does not smile more. He has made this role his own.

Eliza Hamilton is played by Lauren Mariasoosay. She carries her role with grace, and is superb in her lament, Burn, her heart broken by the actions of her husband. Her older sister, Angelica, is played by Marja Harmon with a resoluteness that belies the sadness she feels at having to live only in “proximity to power”. These women are not just mindless maidens in search of husbands. They are strong, smart characters.

Jimmie “JJ” Jeter as Burr exhibits just the right amount of desire for power and hesitancy to place himself in jeopardy while his jealousy of Hamilton leads to his downfall. Jared Howelton’s depiction of Jefferson was a bit jarring in that rather than just being flamboyant and sure of himself, he became a caricature of a powerful egotist. The portly A. D. Weaver shows the power, strength and wisdom of George Washington. Justin Matthew Sargent is a hoot as the foppish Mad King George who twinkletoes around the stage speaking directly to his loyal, royal subjects.

Something For Everyone

Hamilton has been a game changer in that it proved that an actor of any race can play any part. It shows the vital role immigrants have played in our country. It has taken a slice of history that for many was only words on a page that were quickly forgotten after the test and turned it into something vital and memorable. With 50 songs, and somewhere in the neighborhood of 20,000 words, it is entertaining and a delight throughout. Hamilton entertains, educates, and just plain thrills throughout. I hope you get to see it if you have not already had that pleasure. And if you have, it is perfectly alright to see it again. And again. And…