Part 1: The Stage Show
As a piece of theater in its own right, Hamilton is incredible. It deserves the hype and continues to exceed expectations.
The score never reaches Sondheim levels of complexity, but recurring musical motifs are woven throughout the show to create a rich narrative tapestry. Themes of legacy, time and death all permeate the story as we race through a man’s life in just over 2 and a half hours.
In the lyrics, the show truly shines. Miranda manages to expertly condense so much plot and exposition into the runtime. You can’t help but marvel at the genius of some of the rhyming, regardless of whether or not it’s your preferred genre of music.
There really is something for everyone.
The beauty of the show is in just how well it balances its various genres and influences. The callbacks to classic rap songs sit comfortably alongside musical theater tunes.
This crucible of culture is further displayed in the cast, which consists almost entirely of actors of Black, LatinX and Asian backgrounds. The level of representation seen in Hamilton was, and still is, rare, and showcases theater’s capability for transcendence.
Speaking of the cast, every single performer excels. Particularly the ensemble, who rarely leave the stage; peppering the background with character moments and executing Andy Blankenbuehler’s fantastic choreography with aplomb.
I regularly found my eyes wandering to them throughout the show.
