A Truly American Musical

Writer’s block is upon me. There is very little to be said about Hamilton that has not already been said. The hype associated with Hamilton is unlike any to have come before it. Hype often damages the eventual experience; the build up so great that there is no way the show could live up to such wildly high expectations. But Hamilton lives up to the hype. Is it a perfect show? No. Will it satisfy every theatergoer? Again, no. But there is no arguing that the show is unlike any other Broadway musical. So rather than writing a traditional review with a synopsis, good things and not so good things, here is simply what I appreciate about the show.

The Face of the United States

Hamilton is changing the face of musical theater. As an art form, theater is traditionally more apt to practice colorblind casting, but Hamilton raises the bar. Reflecting the face of our country can only serve to bring more people into the musical theater world - fans and performers alike. And, as a musical theater fan, anything that will ultimately serve the longevity of the art form deserves applause.

One Wrong Step

Hamilton’s use of a turntable is brilliant. Les Miserables made the turntable famous but Hamilton makes it cool. The show uses a single set and, while there are a few tables, chairs and desks that move about, the set itself is a constant. Combined with the choreography, the turntable lends the show a fluidity that it otherwise may have lacked. And it adds to the immediacy of the show that one step in the wrong direction may send a dancer flying. Even absent a turntable the cast is working incredibly hard, but the concentration and precision that must be required to move elegantly on the turntable increases my appreciation for their efforts tenfold.

Dressed to the Nines

All of the costumes are a feast for the eyes. The knee boots, corsets, tricorne hats (thank you, Google machine, for knowing exactly what I needed when I searched “olden days triangle hat”), hoop skirts and long wool jackets with glistening buttons are superb. Some costumes are simple. Some, such as King George’s robe, are intricate. All are pure perfection. Fashion is cyclical, so I am holding out hope that tricorne hats will come back into style soon.

Joseph Morales as Hamilton and Marcus Choi as George Washington

Loyal, Royal Subject

Hamilton is not a light evening of entertainment. Much of the show is set during the Revolutionary War and the other half is still chock full of death and unhappiness. So it is with brilliant timing that King George takes center stage. As a scorned ex-lover, King George pops up at just the right moment and hilariously pouts and stomps about, upset with the United States for declaring independence from the British throne. “You’ll Be Back” is without question one of the best moments of the show.

Ambition

How poetic that an ambitious mind, Lin-Manuel Miranda, has chosen to tell the tale of Alexander Hamilton, a man whose ambition led to his downfall. Alexander Hamilton may once have been a forgotten Founding Father, but thanks to Miranda, Hamilton has a legacy and a story that will be told. And in writing Hamilton’s history, Miranda has changed musical theater history and secured his own legacy, ensuring that his story will also continue to be told.