Ensemble Arts Philly and the Shubert Organization present Lin-Manuel Miranda’s Hamilton

Hamilton covers founding father Alexander Hamilton's life from his arrival in the North American colonies in 1772 to his death at Aaron Burr's hands in 1800. The musical was significant because it played with the close racial ties within our country. Hamilton was born in the West Indies. George Washington was not a benevolent master (it’s possible that he used enslaved people’s teeth for his dentures, and he relentlessly pursued Ona Judge, a young woman who fled enslavement in his Philadelphia household). Hercules Mulligan and his enslaved servant Cato served as revolutionary spies. And we all know Jefferson's assault of 14-year-old Sally Hemings upon the death of her half-sister, his wife. By using a mixed-race cast, hip-hop music, and immigrant references, Lin-Manuel Miranda cleverly called attention to the fact our nation's establishment was not lily-white.

Reviewing with fresh eyes

Despite the show’s innovation, I wondered while sitting in the audience on Philly’s opening night if I could experience anything new in the current tour. I saw Hamilton twice in 2019 in Philly. I watched the original cast recording. I read Ron Chernow's Alexander Hamilton biography. Could I really enjoy the latest iteration without comparing it to others? Also, would a seasoned touring cast be as invested in the core material as when they first started?

A great cast

This cast definitely has stand-outs under director Thomas Kail. Lauren Mariasoosay (an amazing Eliza Hamilton) brings vulnerability, hopefulness, and broken-hearted angst to her vocals. A.D. Weaver brings the larger-than-life presence I want from George Washington. Jared Howelton’s Jefferson is hilarious, and so are his confrontations with Hamilton pop. Nathan Haydel brings wildness to the stage as John Laurens. Lily Soto has adorable energy as Peggy, even when wordlessly shoulder-shimmying. I have a soft spot for Colby Lewis’s Mulligan.

Considering former Hamilton background dancers included award-winning actor Ariana DeBose and Emmy Raver-Lampman (of Netflix’s The Umbrella Academy), I always watch the ensemble. I love that Hamilton continues to cast taller dancers. I love Alex Dorf’s energy as the pro-British pamphleteer Samuel Seabury. I love Aniya Danée and Sabrina Harrison’s facial expressions.

Adjusting expectations

However, I couldn't stop comparing some of the cast to previous versions during the first act. Tyler Fauntleroy’s Hamilton, Jimmie ‘JJ’ Jeter’s Aaron Burr, Marja Harmon’s Angelica, and Justin Matthew Sargent’s King George III were all very charismatic, but I didn't warm to their slow-burn approach versus the immediate hot-and-cold contrast of Burr versus Hamilton in previous productions. I missed seeing Burr's seething jealousy and Hamilton's hot-headed temper in act one. Angelica didn't spit the rhymes as hard as I wanted in "Satisfied," and King George's humor no longer surprised me. I wanted more heightened emotions and reactions.

As a Hamilton fan, I know that "Helpless" includes lyrical allusions to Brandy and Monica's 1998 "The Boy Is Mine" and Cypress Hill's 1993 "Insane in the Brain." I enjoyed it when previous Hamilton performers shouted “INSANE” after the lyric "top-notch brain." That didn't happen in this performance.

But once I dropped my expectations in act two, I saw everything I had hoped for. Burr seethes with jealous angst in "The Room Where It Happens." Angelica's gentle yearning comes through in her letters. King George's dancing during "Ain't Gonna Be President Now" is all that. And I love the Jefferson/Hamilton stand-offs. Fauntleroy puts so much energy into mono-syllabic words like “oh shit” and his tomcat “hey” that the audience can’t stop laughing.

Still significant

Hamilton is truly Miranda's opus. These casting directors have excelled at finding performers that can belt Broadway tunes, croon R&B songs, rap hip-hop lyrics, do complicated choreographies walking backward on a rotating stage, memorize Shakespeare-level monologues, AND emote the highs and lows of Hamilton's life. If you’ve seen this musical a thousand times, you’ll still enjoy it a thousand times more.

But, in the wake of Hamilton-inspired productions like Six and 44, the show does feel slightly dated. In some ways, Hamilton has stayed still. In only nine years, it has already undergone 10 different tours and stagings, while Cats, in its 43-year history, only underwent seven revivals\re-stagings. It’s difficult to critique something that has been near-perfect for nine years (maybe we could stop portraying Maria Reynolds as a seductress or Eliza as a wide-eyed innocent).

Should you go see it? After the opening, I took my family back on Saturday to a packed house. My younger family member loved it and was upset that American history still obfuscates contributions from those of darker hues. Hamilton continues to be significant. Especially in times like these. It makes American history fun, palatable, and relatable. A successful show whose book, music, and lyrics were created by a minority man and infiltrated American pop culture so thoroughly continues to be significant.