VIEWPOINTS – For this critic, a return visit to HAMILTON confirms its place in theater lore

hamThe Pulitzer Prize-winning Hamilton woke up this morning to the sweet record-breaking sound of 16 Tony Award nominations. Yes, believe the hype. I’ve seen the game-changing musical four times now (last night being my most recent, but certainly not last, trip to the Richard Rodgers), and each time as I take my seat I warn myself, “the show surely can’t be as good as I remember it was” – only to be put in my place and reminded yet again of its genius as the show’s never-ceasing turntable commences to rotate. After my fourth visit, I think I can, for the record, safely say that Hamilton is one of the theatrical milestones of our lifetimes, a juggernaut not only within the theater world but also popular culture at large. It will undoubtedly affect how future musical theater writers approach the art form.

Lin-Manuel Miranda’s sprawling sung-through hip-hop musical biography of Founding Father Alexander Hamilton (himself under-appreciated by history, until now) contains no less than 34 songs, evenly distributed between its meaty two acts. But to call Mr. Miranda’s work merely a collection of songs is to underestimate the exquisite handiwork of his masterful effort. Each of these so-called “songs” (sizzlingly orchestrated by Alex Lacamoire) are actually meticulously crafted dramatic scenes unto themselves, driving the action forward while ingeniously operating within the song structure. Not only that, he cleverly weaves musical motifs throughout the score, so as to carry thematic elements through the arc of Hamilton’s narrative, therefore giving a sense of cohesion to the highly episodic the show. Mr. Miranda’s lyrics are uncannily precise, often punchy, and never extraneous. Given the musical’s density and sophisticated storytelling (my, Hamilton is a huge leap forward from In the Heights!), it’s not a piece of theater that one goes into expecting mindless escapism (which is not to say it isn’t entertaining – it’s tremendously so). On the contrary, experiencing Hamilton at its fullest is work and demands one’s total engagement and immersion.

Much of the show’s impact as a piece of theater must be credited to director Thomas Kail and choreographer Andy Blankenbuehler. They’ve shaped Mr. Miranda’s intimidatingly monumental work (monolithic, some would say) into a muscular and kinetic explosion of life, death, and everything in between. These two exciting artists have responded to Mr. Miranda’s embarrassment of riches by giving us their own cornucopia: their staging is a thrilling series of overlapping, cascading stage pictures that’s almost too overwhelming to take in in one viewing. I don’t think I’ve ever seen the turntable, which here works brilliantly as a metaphor for history itself and quite literally a DJ’s turntable, put to more effective use that it is here (there are shades of Trevor Nunn and John Caird’s original staging of Les Misérables, one of Mr. Miranda’s primary influences, which also extensively utilized a revolving stage).

The cast last night was on fire, resulting in perhaps the most charged performance of this musical I’ve seen since catching it during late previews Off-Broadway at the Public. Mr. Miranda, who in the title role has admittedly been less consistently engaged than his fellow cast mates, was fully present and committed last night, acting, dancing, and singing as if his life depended on it. A truly moving performance. The other performances have also grown deeper and more textured with time, particularly the Tony-nominated Leslie Odom, Jr. and Philippa Soo’s portrayals (his more chilling as Burr, hers stronger and more self-determining as Mrs. Hamilton). Renée Elise Goldsberry, Christopher Jackson, and Daveed Diggs all remain wonders to behold, each fully deserving of their Tony nomination nods. It’ll be difficult to see anyone else in these roles; such is there contribution. As the new King George, the very funny Rory O’Malley (a previous Tony nominee for his performance in The Book of Mormon) is perfectly cast. He fits quite well into the musical’s storytelling fabric and is less of a scene-stopping showboat than the recently-departed and Tony-nominated Jonathan Groff was in the role. On the whole, last night’s performance seemed looser and more confident than I remember, and it was breathtaking to watch. Indeed, there is currently a certain level of swagger on the boards of the Richard Rodgers that I don’t quite recall seeing in the past. When Hamilton and his cohorts drunkenly croon “The Story of Tonight”, one can’t help but think the actors themselves are sharing the same sentiment.

All-in-all, my return visit to Hamilton was a white hot night to remember. The musical is a singular, immersive experience that’s as rich as life. I wish it and all involved well as they take their well-deserved valedictory lap on to the Tonys and beyond.

HIGHLY RECOMMENDED

 

HAMILTON
Broadway, Musical
Richard Rodgers Theatre
2 hours, 50 minutes (with an intermission)
Open run

Categories: Broadway, Theater

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