Hamilton, National Tour presented by Broadway in Boston at Citizens Opera House, Boston, through November 2. BroadwayinBoston.com
The original 13 colonies had to free themselves from a kind of bondage to King George III and England. In light of the need to establish an American republic, was Alexander Hamilton a kind of American Revolution Moses? Lin-Manuel Miranda, the brilliant author and composer of the Pulitzer Prize-winning musical "Hamilton", may have been thinking just that when he alluded to the great Jewish leader in the early going of his landmark show.
In suggesting that the distinctive Founding Father was similar to Promised Land-heading Moses, Miranda's provocative book has Hamilton allow that he might not live to see America's glory. (In fact, a first act number revealingly entitled "Ten Dual Commandments", that will connect with Hamilton's death at the hands of Aaron Burr, may be a subtle allusion to the fact that Hamilton actually learned the Ten Commandments in Hebrew).
Some history buffs may see this comparison as a stretch, but the wonderfully entertaining and thoughtful musical, now in a stellar return tour at the Citizens Opera House, clearly makes a strong case for seeing Hamilton's writings and actions as essential to the beginning of the American Experiment.
As the show's informative backstory explains, Hamilton immigrated to the American colonies from the Caribbean (actually from the island of Nevis). At various points, the influence of his mother (who would convert to Judaism before his birth) is stressed. Eventually George Washington, as indicated in the musical's book, especially in a number entitled "Right Hand Man", would depend on Hamilton's thinking and writings.
In the later going, even his detractors admit that he composed the lion's share of the Federalist Papers, many more than those penned by James Madison and Thomas Jefferson. Where Jefferson complains about projected expenses in Hamilton's plans, the latter sharply notes that the former's Virginia is doing particularly well thanks to plantation slave labor.
Ultimately, of course, the focal conflict throughout the musical is the on-going rivalry between Hamilton and Aaron Burr. Miranda's book has Hamilton tellingly accusing Burr of consistently failing to take a stand on the issues involved in establishing America. At the same time that Burr resents Hamilton's seeming favored place, reflected in the number "Washington on Your Side," the very ambitious political figure is virtually obsessed with "The Room Where It Happens", a standout number that has become a kind of idiom for involvement in decision-making.
Make no mistake. While "Hamilton" celebrates the importance of immigrants like the title character to the greatness of America and makes smart use of historical material in the process, the show always provides breath-taking stage craft and a rich repertoire of musical performance. The talented cast is as good in its own way as that of the previous tour and the Broadway original (which this critic saw in 2015).
Nathan Haydel as Hamilton (at the performance this critic saw; some cast assignments change throughout the run) combines his character's enthusiasm as a budding lawmaker, especially on the lively early number "My Shot" and his boldness in advancing his ideas. Amanda Simone Lee is a standout as Hamilton's sister-in-law Angelica Schuyler, particularly as the musical's moral anchor in the face of her brother-in-law's infidelity. Deonte Goodman captures all of Burr's drive and discontent (Jimmy "JJ" Jeter has assumed the role for the rest of the run). A. D. Weaver moves very convincingly as George Washington from President to private citizen speaking of retiring under a grapevine and fig tree, clearly a biblical illusion.
Christian Magby successfully alternates between French heroic ally Lafayette and Jefferson. Magby is a jazzy hoot in the catchy second act opener "What'd I Miss" as Jefferson returns from France. Lauren Mariasoosay is touching as the loving and loyal wife Eliza Hamilton. Jorge Guerra has all of son Philip Hamilton's earnestness and vulnerability. Matt Bittner as King George III sings and moves with amusing if evolving certainty that the colonies will eventually return to the British Empire.
A first act statement that "Immigrants, we get the job done" rightly elicited cheers from the Opera House audience. Hamilton certainly did, and the same can be easily said about the strong current tour.