By James V. Ruocco
Who is Alexander Hamilton, the title character of Lin-Manuel Miranda's stunning, ferociously entertaining Tony award-winning musical?
a.) the first secretary of the U.S. Treasury, credited with laying the foundation for American government and finance.
b.) the bastard son of a whore and a prosperous merchant Scotsman.
c.) a young man who emigrated to America as a teenager in 1772.
d.) an American revolutionary and influential interpreter of the U.S. Constitution.
e.) the husband of the very wealthy Elizabeth Schuyler whom he wed in 1777 and had seven children together.
f.) the man who had a three-year affair with a woman named Maria Reynolds that later evolved into a sex scandal and cover up when she blackmailed him for money.
g.) the unlucky gentleman who challenged Aaron Burr to a duel on July 11, 1804 and died the following day after being shot and mortally wounded by his opponent.
These facts - and so many more - lay the groundwork for "Hamilton," the much-hyped, much applauded, much ballyhooed, visionary hip-hop musical that rumbles, growls, delights and excites with a never-ending tempo and bravura that gives way to an American musical narrative and entertainment unlike anything you've seen before in the last five to ten years on Broadway, in London or on National Tour.
"Hamilton," by definition, is in a class by itself.
It also dances to its own drum roll.
It is clever and savvy.
It is timely, bold and significant
It is soulful, sad, beguiling and triumphant.
It is welcoming and observant.
It is liberating and vigorous.
It's a costume drama where period dress takes center stage.
It channels historical fact with a terrific sense of ability and accomplishment.
It is poised and daring.
Its rap battle with 18th century politics is fierce and intelligent.
Its language is direct, intelligent and tongue-pattering.
Settling in for a three-week run at the Bushnell, the artistry, size, scope and technical brilliance that is "Hamilton" is tailor-made for the lush, inviting, atmospheric venue. It's a perfect fit - so to speak - justified by a lived-in authenticity and gaze that complements and celebrates the musical's already-fueled anticipation and achievement.
Inspired by "Alexander Hamilton," the 2004, 818-page biography written by Ron Chernow, "Hamilton" comes to the stage with a complex book and lyrical blueprint by creator Lin-Manuel Miranda that befits the sprawling musical interpretation at hand using influential language, poetry and stagecraft. Well positioned, timed and plotted, it is communicated with reticence and elevation that is effective, revolutionary and collective. It is also articulated with understandable speed and musical verbiage that augments the storytelling, the incidents and the characters who populate the "Hamilton" story, its politics, its history, its constitutional conventions, thoughts, ideals and machinations.
At the center of "Hamilton," first and foremost, is the music. Sung and rapped-through accordingly using important, driven, music and lyrics created by Miranda, the two-act musical mixes R&B, pop, jazz, soul and synthetic hip-hop with traditional musical theatre styling, all of which is presented with mirrored establishment and cinched skill and character. Development, orchestration, drama and irony is key to Miranda's composition as is the atmospheric detail, engagement, unity, setting, placement of the individual musical numbers that thrust "Hamilton" into orbit, appropriately manipulated by orchestral colors, techniques and lyrical commentary woven tightly together with extraordinary flow, definition and melody.
Winner of eleven Tony Awards including Best Musical and Best Original Score, "Hamilton" is told through 48 important musical numbers. They are (in order of being sung): "Alexander Hamilton," "Aaron Burr, Sir," "My Shot," "The Story of Tonight," "The Schuyler Sisters," "Farmer Refuted," "You'll Be Back," "Right Hand Man," "A Winter's Ball," "Helpless," "Satisfied," "The Story of Tonight (reprise)," "Wait For It," "Stay Alive," "Ten Duel Commandments," "Meet Me Inside," "That Would Be Enough," "Guns and Ships," "History Has Its Eyes on You," "Yorktown (The World Turned Upside Down)," "What Comes Next?" "Dear Theodosia," "Tomorrow There'll Be More of Us," "Non-Stop," "What'd I Miss," "Cabinet Battle #1," "Take a Break," "Say No to This," "The Room Where It Happens," "Schuyler Defeated," "Cabinet Battle #2," "Washington on Your Side," "One Last Time," "I Know Him," "The Adams Administration," "We Know," "Hurricane," "The Reynolds Pamphlet," "Burn" "Blow Us All Away," "Stay Alive (reprise)" "It's Quiet Uptown," "The Election of 1800," "Your Obedient Servant," Best of Wives and Best of Women," "The World Was Wide Enough," "Who Lives Who Dies, Who Tells Your Story" and "Finale."
Musically, "Hamilton's" emotions are big, bristling with edgy drama, liberated reform, speedy information and clandestine abundance. The message is clear. Perfect timing, structural authority, melodic perfection and knockout dashes of rhythm, beat and pause and quick-charge exhilaration heighten the mix as does Miranda's ability to make every conceivable musical choice he makes fit seamlessly into the framework of the story he judiciously creates, manifests and savors.
Using music supervision and orchestrations set forth by Alex Lacamoire, music director Emmanuel Schvartzman, who doubles as both conductor and keyboardist 1, brings drive and intensity to the iconic "Hamilton" score, duly capturing and framing the whirlwind moods and emotions prevalent in the material and its persuasive, detailed rhythmic consistency and orchestral abundance. As the musical evolves, the irresistible draw of the story, its cues, its captivation and its vocal connection are addressed with gravitas investment, tipped and primed at full throttle by an orchestral team whose immersive engagement blends remarkably well with the thrillingly voiced on stage assemblage of principals, supporting players and members of the vast "Hamilton" ensemble.
Thomas Kail, who staged the original 2015 off-Broadway edition of "Hamilton" and the subsequent Broadway production and Olivier award-winning 2017 London version at the Victoria Palace, recreates his directorial genius for the traveling National Tour performed in Hartford by the Philip's cast (two other productions - the Angelica cast; the Peggy cast - are also on tour throughout America). Here, as in the original Broadway production, Kail exemplifies everything with a steady, crisp, fast-paced aura of tableaux-illustrated scenes, moments and musical turns that acknowledge Miranda's keen, observant vision of the story, its progression, its methods, its complications and its brilliantly crafted, edgy, twirling drama. Given the vastness and evolving time frame of the material, no two scenes are alike, which is meant as the highest compliment to both Kail and Miranda. So what follows is lots and lots of different staging techniques, maneuvers, blocking patterns, groupings, pairings, scene changes and shifts of scenery that build with immersive momentum that never falters for a second. The cast, in turn, is more than up to the challenge, reveling in the excitement and bravura that is "Hamilton," its soulfulness, its musicality, its authority and finally, its conquering form and jaw-dropping execution.
This, being a musical, "Hamilton" is dependent on choreography that is fundamentally important, confidant and in sync with the time and place of the period itself and its breakout mix of contemporary and visionary beats and pulses that blend together with lobs and lobs of ruffling dance vigor, synchronization, rhythmic rapping and late 18th century storytelling. Here, choreography by Andy Blankenbuehler (also responsible for both the Broadway and West End productions of "Hamilton") is primed and sequenced with speed, absoluteness and smartly pitched emotion that represents the contrasting tones of Miranda's narrative, its energetic spunk and quickness, its historical undercurrents and its intertwined elements of struggle, influence, political ambition, jealousy, romance, sexuality, newness, community and entitlement.
In the title role of Alexander Hamilton, Pierre Jean Gonzalez commands the stage - and pretty much everyone else in the audience - with a kinetic dramatic turn, acknowledging the scope, drive, entitlement and restlessness of the character, properly channeling the strengths, frenzy and gloriousness of this man with varying degrees of power, stamina, personality and pathos. As American politician Aaron Burr, Hamilton's rival and nemesis, Jared Dixon offers a smart, slippery portrait of a historic figure defined in the history books by his famous personal conflicts with the man known as Alexander Hamilton that in 1804, culminated in the American stateman's death by duel. Vocally, both men bring class and charisma to their respective roles, matched by note-perfect musicality, rich in the style, spirit and emotional edge as penned by "Hamilton" creator Lin-Manuel Miranda.
Eliza Schuyler Hamilton, as played by Stephanie Jae Park, is sweet, delicate and beguiling, tackling both her dramatic role and songs with a natural shimmer and freshness that musters real warmth and importance whenever she's on stage. Throughout "Hamilton," her singing voice comes shining through with lingering savvy, impression, pace and unhurried surge and emotion. Neil Haskell's preening King George hilariously conveys the pucker and gooey weight of the crown, mixed with magisterial, obviously effeminate allure that turns this otherwise cameo role into a scene-stealing standout happily envisioned by the actor in rainbow-tinged glory, approach and execution. As King, he may have lost America, but he more than makes up for it with wondrously camp entrances, asides, songs and acerbic, smartly-timed connotations.
Other fine performances are delivered by Ta'Rea Campbell as Angelica Schuyler, Marcus Choi as George Washington, Warren Egypt Franklin as Thomas Jefferson and the Marquis De Layfayette, Paige Smallwood as Peggy Schuyler and Maria Reynolds and Elijah Malcomb as Philip Hamilton and John Laurens.
One of the most important musicals of this or any other season, "Hamilton" is a knockout, magnetic entertainment that comes to the stage with intricate skill, spike and layering, bolstered by riveting. powerful, this-should-be-framed-and-mounted production values - i.e., zeitgeist scenic costume, sound and lighting design - that push theatrical creativity to an entirely new level of epic urgency and quake. The performances, the direction, the choreography and the music are amped to perfection, each representing the rap-influence of the story, its groundwork and its journey.
Hype and hoopla aside, Hamilton" is everything it was meant to be...and so much more.
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