REVIEW: ‘Hamilton’ is one of the most important musicals of all time

NEW YORK — There’s no shame in jumping on the bandwagon. Hamilton, currently playing the Richard Rodgers Theatre on Broadway, is as good as the critics have promised and even better than the hype suggests.

The two-act musical, which originated at the Public Theater, tells the story of founding father Alexander Hamilton with a wonderfully complex set of songs that ring in the ears for days after the final curtain. The much-feted Lin-Manuel Miranda wrote the book, music and lyrics. Plus, he plays the title character (Javier Muñoz takes over duties at some weekend matinee performances).

Miranda, the creator of the successful In the Heights musical, rightfully focuses on the underlying themes of Ron Chernow’s Alexander Hamilton biography, the source material for the show. At its heart is a show about an immigrant, a family, the American dream and the pursuit of happiness. Miranda takes ownership of that story and its many influences, placing a contemporary spin on the 200-year-old tale of this financial figure.

The songs blast from the Richard Rodgers stage with a 21st-century identity, as if someone were holding up an iPhone or iPod. These tunes are catchy and creative, laced with hip-hop brilliance, infectious rhythms and lyrics both deep and beautiful.

The diverse cast bring life and energy to this American story. Daveed Diggs is the Marquis de Lafayette and Thomas Jefferson. Renée Elise Goldsberry is powerfully effective as Angelica Schuyler, and “The Schuyler Sisters” song is a highlight. Jonathan Groff (replaced now by Rory O’Malley) was hilarious as King George, and Christopher Jackson is solid and transfixing as George Washington. Miranda is equally engaging as Hamilton; he’s a triple threat, writing memorable songs, creating wonderfully thoughtful lyrics and singing with the best of them.

Thomas Kail directs the two-hour-45-minute musical with precision and panache, allowing the action to play out on a two-tiered set. Never do the songs overtake the narrative, and the entire performance feels uniformly fresh and emboldened. That’s a simultaneous credit to Kail and his team of hard-working actor-singers.

Andy Blankenbuehler, an alumnus of Broadway, has crafted several stirring dance numbers, and David Korins’ scenic design seems just right for the melding together of historical and contemporary. Paul Tazewell’s costume design is all period, all the time, and kudos to the lighting team, sound technicians and musicians who help tell this epic story.

Hamilton has been written about more than any other modern musical. It has cemented for itself a rather large spot in the history of Broadway — and rightfully so. Too often, 41st Street to Lincoln Center seems like a playground for risk-free mega-musicals with little soul and less staying power. From Disney knockoffs to jukebox musicals, originality is tough to find. Take a look at the long-running musicals on Broadway: Aladdin, The King and I, Fiddler on the Roof, School of Rock, Finding Neverland, Beautiful, An American in Paris. There are some quality shows among these Broadway entries; however, it’s tough to call them wholly original. Hamilton, hopefully, will usher in a new wave of producers, creators and actors willing to take a chance on material that doesn’t fit perfectly into the Broadway mold.

Know the names of those attached to this performing powerhouse. They have already been honored with a Pulitzer Prize, Grammy Award and record-setting number of Tony nominations. These accolades, and the millions of dollars the show brings in for its backers, will not be Hamilton’s legacy. It will take years to realize the impact, but if Broadway is forever changed, Miranda’s creation may be revolutionary in more ways than one.

By John Soltes / Publisher / John@HollywoodSoapbox.com

• Hamilton
• Book, music and lyrics by Lin-Manuel Miranda
• Directed by Thomas Kail
• Choreography by Andy Blankenbuehler
• Music direction and orchestrations by Alex Lacamoire
• Starring Miranda, Daveed Diggs, Renée Elise Goldsberry, Christopher Jackson and many others
• Running time: 2 hours, 45 minutes
• Currently playing the Richard Rodgers Theatre at 226 W. 46th St. in New York City. Click here for more information.