Still revolutionary after almost a decade of performances
Throughout history there are pieces of theatre that defined a genre, whether the classic Pirates of Penzance or more contemporary Phantom of the Opera; however in the 21st century there cannot be a more influential musical in pop culture then Hamilton. Lin Manuel Miranda has written a piece of masterful theatre that works as a postmodern biopic, historical drama, and just an incredible album.
One of the first things you notice when watching Hamilton is the hip hop and RnB influences throughout the songs and even lyrics. Miranda chose hip hop as it represented “the language of youth and energy and of rebellion” and this comes across superbly in every hip hop song in the musical, highlighting the revolutionary character of Hamilton as he fights for a higher purpose, until his arrogance and legacy building causes his tragic end. The songs exemplify the obvious question of, given that hip hop works brilliantly as a storytelling device, why has everyone waited until now to use it in theatre?
Throughout the play there is a clear postmodern approach to examining history and the way we tell it. Miranda wrote this musical trying to acknowledge the ways in which we mythologise history, and how the myths often hide or repress the darker aspects of history and its important figures.
The production is as versatile as it is gorgeous to look at. The lighting and blocking create every atmosphere for the show, whether the extravagant ball that the Schuyler sisters are introduced during, to many a drunken song from Hamilton and his comrades. Although if you need to be distracted from the singers during pivotal songs the dancing will do so effortlessly. The varying choreography builds tension with every movement, and emotion with every pose. During freeze frames especially, the choreography on the revolving stage turns the dancers bodies into the frame through which the principal cast are seen and heard through.
There are a few mistakes I noticed throughout – namely a few lines said too early, perhaps three or four. It doesn’t detract from the end product or individual actors but given it’s a West End production for an expensive ticket, this shouldn’t happen as much. Hopefully this was just the pressure of press night.
Sadly the window on seeing the original cast of Lin Miranda, Daveed Diggs and others has closed shut. But the mantle is well worn by the entire cast. As expected all the principal cast dazzled with each song and scene but the standouts were Daniel Boys as King George, Sam Oladeinde as Aaron Burr and Maya Britto as Eliza Hamilton, one of the Schuyler sisters.
Daniel delivers the exact right amount of camp and menace that King George deserved in each song, but especially during the fan favourite “You’ll be Back” which makes it incredibly hard not to clap along to the threats of war. Admittedly I think the more menacing take from the original cast is better but Daniel Boys delivers the more comedic take better than anticipated.
The king does sit and jest from the wings in some of the scenes in the second act which is distracting and jarring as the character works best as the larger than life figurehead of the British Monarchy. Maya delivers my favourite vocal performance in ‘Helpless’, her voice gliding across the RnB track’s every beat and accentuation so effortlessly. She carries across this performance to transform what could have been another forgotten woman stripped of agency, into a strong figure that takes control of her own and Hamilton’s narrative. You can see why she’s not the standby anymore. Sam has an elegant voice throughout but he is incredible during dialogue at stretching the tension between Hamilton and Burr from their first meeting as Hamilton’s prospective teacher to Hamilton’s eventual killer.
Hamilton is a genre defining piece of theatre and no doubt marks a turning point in musicals, it is still revolutionary after almost a decade of performances. It’s hard to make history about someone who spent a long time writing essays and debating, this compelling and tear-jerking, but Miranda has done all that, and, made it rhyme.
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