Book, Music and Lyrics: Lin-Manuel Miranda
Director: Thomas Kail
After his Tony-winning debut with In The Heights, followed by a musicalisation of the Cheerleader comedy film, Bring It On, nobody could have predicted that Lin-Manuel Miranda’s next project would be a musical biography of the brilliant statesman who rose from the humblest origins to become, perhaps, the most controversial of America’s founding fathers.
Nevertheless, encouraged by his mentor, Stephen Sondheim, Miranda fearlessly set out to document the birth of his nation by focusing on this mercurial, driven and intellectually dazzling figure. An orphan from the Caribbean, sent to America through charity, Alexander Hamilton was a pivotal figure in the fight to free his nation from the Mother Country and then, as Secretary to the Treasury in George Washington’s first US administration, he created a financial master plan that was critical to the development of the fledgling state. Being no respecter of persons and a brash, self-promoting and relentless campaigner, he collected as many enemies as friends. Ultimately, his lifelong rivalry with fellow founding father, the equally complex character of Aaron Burr led to his death in a duel at just 47 years of age.
His personal life was as colourful and complex as his political career, encompassing his marriage to the heiress, Elizabeth (Eliza) Schuyler and a highly publicised affair with the married Maria Reynolds that threatened his marriage, his career and his reputation. It was also marred by tragedy with the loss of his son in a duel.
Under Thomas Kail’s endlessly inventive direction, Miranda portrays this fascinating life in a flowing tapestry of song, rap, dance, drama and comedy that effortlessly draws in the audience and seems to pass in a heartbeat. Andy Blankenbuehler’s stunning choreography matches them in imagination and innovation, all adding up to a polished, involving and constantly surprising piece of theatre that fully justifies its worldwide reputation and the numerous prizes it has won.
Though widely trumpeted as a rap musical, the score is far richer and more complex than that. It embraces numerous song styles, from the camply comedic You’ll Be Back, where King George III expresses his disdain for America’s rejection of his leadership like a spurned mistress, to the painful beauty of Burn, where Eliza tells of her heartache at Alexander’s infidelity. The sweetness of the harmonies in Dear Theodosia, where Burr and Hamilton both describe their feelings for their children and It’s Quiet Uptown, as Hamilton tries to endure after the death of his son, would melt the stoniest of hearts.
Cameron Mackintosh has endowed this tour with a first-rate cast. Marley Fenton endows Alexander with just the right balance of brashness, charm, passion and intellect and he masters the range of vocal styles with finesse and energy. Billy Nevers’ Burr is a nuanced and more contained performance. He is also a vocal powerhouse with a richness and a pure tone. Casey Al-Shaqsy is an assured and serene Eliza, with a voice to match, effortlessly wringing the emotion from her character ballads. Chasity Crisp is equally splendid as her smart, worldly-wise sister Angelica, her more belt-like voice blending and contrasting with Eliza’s to great effect.
Akmed Junior Khemalai is a commanding presence as George Washington, believably paternal and statesmanlike. KM Drew Boateng plays the contrasting roles of the brash Hercules Mulligan and the scheming James Madison with skill. Ashley J. Daniels is an elegant Lafayette and definitely brings the party as the wisecracking, irreverent Thomas Jefferson, opening the second act with a bang, with his rock-star performance of What’d I Miss. Nobody has more fun, however, than Louis Maskell as King George, packing his performance with everything but the kitchen sink. Following on from some notable performers in the role, he finds plenty more to do with it. With his strange, side-footed walk and the riot of facial expressions, covering petulance, sarcasm, coquettishness, mock innocence and more, he makes the role truly his own. The ensemble deserves to be similarly applauded for their energy, style, versatility and sheer skill.
The Sunderland audience clearly felt themselves to be witnessing something truly exceptional, as the rapturous standing ovation clearly demonstrated. Every plaudit this phenomenal show has received was shown to be fully justified.
Runs until 26th July 2025
The Reviews Hub Score
Lin-Manuel Miraculous
