Arts

Hamilton lives up to the hype

by Jules Becker
Thursday Nov 1, 2018

Hamilton, tour presented by Broadway in Boston at Boston Opera House, through November 18. Broadway in Boston or 800-982-2787

In its own way, "Hamilton" has as much to say about the importance of immigrants to America as the Emma Lazarus verses on the Statue of Liberty. The evidence is clear—both from the 2015 Broadway original and the strong tour at the Boston Opera House—that its subject is the kind of Founding Father that always fully defended equality and whole-heartedly supported immigrants. Tellingly, a rousing cheer erupted at the Opera House after the assertion "Immigrants—we get the job done." Sublimely the cast of "Hamilton"—both at the Richard Rogers Theatre and on tour—largely includes Hispanic and African-American descendants of immigrants—in the original New York cast even a black Jew named Daveed Diggs, whom this critic saw powerfully play both Thomas Jefferson and French hero Marquis de Lafayette.

Significantly, Miranda gives time to the dream of freedom and the ideal of a black regiment. At another key moment, Hamilton counters Jefferson's complaint about money spent to assist New York by reminding the cocky Virginia slave holder that his state's burgeoning economy depends upon slavery.

If Hamilton is unrepentantly outspoken, his nemesis Burr comes across as deliberately cagey. The latter talks less and does not let people know where he stands. Fairly envious of the man who established America's very solid financial status, Burr observes, "The man is nonstop." Hamilton accomplishes a great deal thanks to that tirelessness. Miranda—with a vivid book and an exquisitely eclectic score of rap, hip hop, rhythm and blues, jazz, pop and folk—beautifully captures his subject's commitment to the Constitution and the nation.

Andy Blankenbuehler evokes the dynamics of the American Revolution and the debates and understandings of historical figures in his often stylized but always sharply delineated choreography. History buffs and general theatergoers will welcome the musical's observation that James Madison, often seen as the father of the Constitution, only wrote 29 of the pivotal Federalist Papers while Hamilton wrote 51.

At one point, Hamilton speaks of building something that will outlive him—an eye to the future that ought to be a wake-up call for those leaders who do not seem to worry about the impact of climate change on their children and future generations.

Director Thomas Kail has built up a terrific touring ensemble for this deserved 11 Tony Award winner, effectively as good as the cast this critic saw in New York. Edred Utomi (substituting for Austin Scott) has the right combination of gutsiness, self-confidence and occasional vulnerability as Hamilton. He delivers "My Shot" with fitting bravado. Nicholas Christopher moves convincingly from frustration to fiery purpose as Burr. He brings an impressive belt to Burr's ambition on "The Room Where It Happens." Hannah Cruz captures Eliza Hamilton deep love for her husband as well as her inner conflict about Alexander's shortcomings.

Sabrina Sloan shares fine harmonies with Cruz as her insightful sister Angelica Schuyler. Paul Oakley Stovall catches George Washington's authority and mentoring. Bryson Bruce catches Lafayette's panache and Jefferson's attitude. Peter Matthew Smith is a hoot as buffoonish King George. Kudos go to Paul Tazewell's handsome costumes, David Korins' smartly evolving scenic design and Howell Binkley's often surreal lighting.

Miranda's Hamilton protects the outsider and the disenfranchised. His musical lives up to the hype surrounding it and more. Call it a brilliant, totally absorbing fact check about America in an age of outrageous campaign promises and Orwellian doublespeak. Vote for "Hamilton" and enjoy.