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A CurtainUp Deature
What this Country Needs Is More Really Smart Leaders Like the One now On the Richard Rodgers Stage

Leslie Odom and cast members
Lin-Manuel Miranda and Ensemble members (Photo: Joan Marcus)
It's not as if Hamilton, the hip-hop musical about our ten dollar founding father needed fortuitously pertinent publicity to insure a successful landing on Broadway. Yet a little extra buzz didn't hurt even a super hit which is certainly what Hamilton was downtown and is sure to be uptown. To start with there was the announcement about plans to have Hamilton share that $10 bill with a woman which came just as previews began at the Richard Rodgers.

And having the official opening coincide with a Republican debate in Cleveland certainly reinforces everything that's so breathtakingly fresh about this show. Let me count the ways.

. . . Everyone of those homily spouting presidential hopefuls makes you wish for another politician with Hamilton's insights and genuineness. And unlike Lin-Manuel Miranda's Hamilton or his history-making colleagues (Burr, Jefferson, Madison, Washington and the overall look wasn't nearly as diverse as what you see on that stage.

Leslie Odom
. . . And while Alexander Hamilton did most of the writing of the Federalist Papers, so the incredibly talented Lin-Manuel Miranda wrote the book, lyrics and songs, the final production exemplifies creative collaboration at its best. Hamilton, the musical, would never have happened without Ron Chernow's 700-page biography. And Miranda's expansion of a song into a musical epic is as much director Thomas Keil and the one song into an epic musical. The same is true of the large cast, especially Leslie Odom, who plays Hamilton's nemesisi Aaron Burr and is very much a star. In fact the large cast is full of starry portraits of historic characters.

. . . Hamilton also puts to rest all the hand wringing by musical theater enthusiasts about the dirth of new American musicals that have something to say and do so with eye and ear pleasing musical story telling. It combines the best of long-lived hits with a beat so far a novelty with conventional audiences.

It would be nice to think that since the show has won favor with celebrities from opposite sides of the political spectrum, that it might also inspire a return to civility, accomplishment and fair-minded lawmaking among our leaders. But that would

scores and that aren't re-makes of movies or British imports made in this coun n seems short of leaders dedicated to the common good instead of getting elected and re-elected , As the inability of our current political leaders to work together, the average American populace had made possible to have even put a loose canon like the absurd Donald Trump alongside the contenders, and mostly no longer young. , scrappy mostly and mostly I’M YOUNG, SCRAPPY AND HUNGRY AND I’M NOT THROWING AWAY MY SHOT MY SHOT 7 Hamilton materializing at every major turning point in the early history of the republic.” As a result “the foremost political figure in American history who never attained the presidency…had a much deeper and more lasting impact than many who did.” Hamilton the -- The fact that the show's transfer from a sold-out run at the Public Theater coincided with proposals to add a female partner to the $10 dollar bill that's heretofore ben There's certainly no shortage of politicians who want their shot Given the line-up of politicians in Cleveland on the same night as the hip-hop musical about our ten dollar founding father had its official Broadway opening on the same night as ten politicians debated their qualifications as our next president. Given the line-up of politicians on Broadway, there's no shortage of guys who, like the ten dollar bill There's plenty of homily spouting guys who
Phillipa Soo, Renée Elise Goldsberry, and Jasmine Cephas Jones Photo by Joan Marcus
Lin-Manuel Miranda and Phillippa Soo
hamilton-groff 149 157 hamilton-wash 169 153 hamilton-diggs2 hamilton-diggs-jefferson 169 169 Production Notes:
hamilton-women 169 186 Hamilton
Music, lyrics and book by Lin-Manuel Miranda, inspired by the book Alexander Hamilton by Ron Chernow
Directed by Thomas Kail
Choreography by Andy Blankenbuehler
Music direction and orchestrations by Alex Lacamoire
Daveed Diggs (Marquis de Lafayette/Thomas Jefferson), Renée Elise Goldsberry (Angelica Schuyler), Jonathan Groff (King George), Christopher Jackson (George Washington), Jasmine Cephas Jones (Peggy Schuyler/Maria Reynolds), Lin-Manuel Miranda (Alexander Hamilton), Javier Muñoz (alternate Alexander Hamilton), Leslie Odom Jr. (Aaron Burr), Okieriete Onaodowan (Hercules Mulligan/James Madison), Anthony Ramos (John Laurens/Philip Hamilton) and Phillipa Soo (Eliza Hamilton).
Sets by David Korins; Costumes by Paul Tazewell
Lighting by Howell Binkley
Sound by Nevin Steinberg
Hair and wig design by Charles G. LaPointe
Music coordinators, Michael Keller and Michael Aarons
Technical supervisor, Hudson Theatrical Associate
Stage manager, J. Philip Basse
Running time: 2 hours 45 minutes, with 1 intermission
Richard Rodgers Theater 226 W. 46 St
From 7/13/15 with an 8/06 official re-opening.
Hey, yo, I'm just like my country
I'm young, scrappy and hungry
And I'm not throwing away my shot
— The young Alexander Hamilton's mantra for his rise from penniless orphan to founding father who still graces our $10 bill.
Renée Elise Goldsberry as Angelica Schuyler, Lin-Manuel Miranda as Alexander Hamilton, Phillipa Soo as Eliza Hamilton (Photo: Joan Marcus)
Forget about those frequently voiced "they don't make them like that any more" laments for the musical theater. With a fourfold talent like Lin-Manuel Miranda to bring us a thrilling musical history lesson like Hamilton, that lament should be replaced with a joyful shout-out. To cut right to the chase, Hamilton, currently at the Public Theater, sure to move on to Broadway and a likely contender for this year's Pulitzer, hits every sweet button: great story, music and presentation.

On a personal note, it took me back more than twenty years when my editor for the children's music book I was commissioned to write for the popular World Almanac series wanted me to eliminate the sections about hip-hop. I knew enough to insist that rap was not a passing fad but as pertinent for that book as Beethoven and Mozart and traditional musical theater practitioners. But who knew that Mr. Miranda would apply his imagination and talent to upend all that angst about the musical genre's decline with a book musical told in the lyrical vernacular of hip-hop — and infuse it with other contemporary musical styles like jazz and pop.

What's more, there are several delightfully humorous nods to musical theater forefathers like Rodgers & Hammerstein and Gilbert & Sullivan; for example, Aaron Burr, whose fateful friendship with Hamilton is a core element of the plot, supports the young Hamilton's fiery polemics with "I'm with you, but the situation is fraught/You've got to be carefully taught". . . and George Washington introduces himself as "a modern major general."

Hamilton is not only a thoroughly entertaining musical but as diverse as the America we live in. That diversity is also reflected in its superb cast and staging. Its main and titular character is an immigrant. The French Lafayette is a temporary immigrant, having crossed the ocean to fight in the American revolution. Both these exuberant young men accompany a triumphant declaration of "Immigrants: We get the job done" with a jaunty high five.

For historical authenticity, Ron Chernow, whose biography of Alexander Hamilton is the musical's inspirational source, is on board as historical consultant. His presence enabled Miranda to take the fictional liberties necessary to musicalize and condense the story without compromising the facts about our "$10 founding father without a father."

At two and a half hours, Hamilton is quite faithful to Chernow's 800-page book. While the show's focus is on the personal connections of our young nation's headliners, it doesn't ignore Hamilton's role as the the founder of the nation's financial system.

The mostly sung libretto includes some heavy duty economic talk that's likely to bring the likes of economist Paul Krugman to the Newman Theater. But such potentially heavy fodder for a musical is actually great fun; case in point: a delightful rap debate between Hamilton and Jefferson about credit policy, moderated by Washington. Hamilton amusingly nails the slave-holding Jefferson for his vested interests with "A New Line Of Credit, A Financial Diuretic/ How Do You Not Get It? If We're Aggressive And Competitive/ the Union Gets A Boost. You'd Rather Give It A Sedative?/ a Civics Lesson From A Slaver. Hey Neighbor./ your Debts Are Paid Cuz You Don't Pay For Labor."

The lively opening number, "Alexander Hamilton," introduces us to the key characters and their connection to Hamilton. It also serves as a foretelling prologue.

Singing about how they fought with him are Hercules Mulligan (Okieriette Onadowan who also doubles as a curmugeonly and very funny James Madison) and the Marquis de Lafayette (He's hilarious as "the Lancelot of the Revolutionary set" who "came from afar just to say Bonsoir" — and aptly doubles as Jefferson who loved his ambassador's post in France).

John Laurens (Anthony Ramos, another double tasker) tells us that he died for Hamilton. George Washington (Christopher Jackson, a graduate of In the Heights will back his "I trusted him" by making Hamilton his war time aide-de-camp and first Secretary of the Treasury.

Aaron Burr (a terrific Leslie Odom Jr.) foretells the inevitable end with "I'm the damn fool that shot him." Singing "I loved him" in unison are the women Hamilton loved wisely as well as scandalously — his wife Eliza (Phillipa Soo who's even better here than in Natasha, Pierre & The Great Comet of 1812 , another groundbreaking musical), her older sister Angelica (the dynamic Renee Elise Goldsberry), and Maria (Jasmine Cephas Jones as the first but hardly last woman to trap a politician in a sex scandal). And, of course, there's Hamilton himself played with convincing passion by Miranda.

Naturally, a not to be overlooked character in any story of the American Revolution is King George. And as played by Brian D'Árcy James, the only thing wrong with this Royal is that he makes just three brief, scene stealing appearances; they include "You'll Be Back" and a "what's next" challenge of "You've Been Freed/ Do You Know How Hard It Is To Lead?

As arranged and orchestrated by Alex Lacamoire and Mr. Miranda, the ten piece off-stage band never overwhelms the not to be missed lyrics. The shifts from Hamilton's arrival in New York, through the Revolutionary war and the first administrations, as well as three duels could easily be confusing. But director Thomas Kail, who also helmed In the Heights, has seen to it that we know just where in Hamilton's journey we are.

Andy Blankenbuehler, another In the Heights collaborator, has made what at first promises to exemplify the movement school of choreography, a double Wow!! The energetic, story supporting dancing is almost non-stop, which, given the excellence of the dancers, is a good thing.

The entire crafts team adds to the visual pleasures. Costumer Paul Tazewell combines the formal and avante-garde with velvet frocks and britches for the founding fathers and the undergarments of those outfits for the dancers. The cutting edge look and feel of the choreography is further enhanced by hair and wig expert Charles LaPointe.

While Hamilton did give away his shot with that fatal duel, Lin-Manual Miranda and his team have not thrown theirs away. My only bad news about this production is that, even with two extensions, getting tickets is subject to the luck of the draw and last minute cancellations due to illness or the weather.

Book, Music and Lyrics by Lin-Manuel Miranda
Inspired by the book "Alexander Hamilton" by Ron Chernow
Choreography by Andy Blankenbuehler
Directed by Thomas Kail
Cast :Lin-Manuel Miranda (Alexander Hamilton), Phillipa Soo (Eliza Hamilgon), Leslie Odom Jr. (Aaron Burr), Renee Elise Goldsberry (Angelica Schuyler), Daveed Diggs (Marquis de Lafayete/Thomas Jefferson), Christopher Jackson (George Washington), Okieriete Onaodowan (Hercules Mulligan/James Madison), Anthony Ramos (John Laurens/Philip Hamilton), Jasmine Cephas Jones (Peggy Schuyler/MariaReynolds), Brian d'Arcy James (King George)
Ensemble:Carleigh Bettiol, Andrew Chappelle, Ariana DeBose, Alysha Deslorieux, Sydney James Harcourt, Sasha Hutchings, Thayne Jasperson, Stephanie Klemons, Javier Mu±oz,Jon Rua, Seth Stewart, Betsy Struxness, Ephraim Sykes, Voltaire Wade-Greene).
Scenic Design: David Korins
Costume Design: Paul Tazewell
Lighting Design: Howell Binkley
Sound Design: Nevin Steinberg
Hair and Wig Design: Charles G. LaPointe
Arrangements: Alex Lacamoire & Lin-Manuel Miranda
Orchestrations/Music Direction: Alex Lacamoire
Music Contractor: Michael Keller
Production Stage Manager :James Latus
Running time: Approx. 2 hrs & 30 min including intermission
From 1/20/15; opening 2/17/15; closing 5/03/15
Public/Newman Theater Tickets: $120; members: $80-$85 (even with extensions the show is sold out)
Reviewed by Elyse Sommer based on February 14th press preview
Musical Numbers
Act One
    Alexander Hamilton
    My Shot
    The Story of Tonight
    The Schuyler Sisters
    Farmer Refuted
    You'll Be Back
    Right Hand Man
    Wait For It
    Stay Alive
    Duel Commandments
    That Would Be Enough
    History Has Its Eye On You
    Dear Theodosia
Act Two
    What'd I Miss
    Take a Break
    Say No to This
    The Room Where It Happens
    Schuyler Defeated
    Washington on Your Side
    One Last Ride
    The Adams Administration
    The Reynolds Pamphlet
    Blow Us All Away
    It's Quiet Uptown
    The Election of 1800
    Your Obedient Servant
    The World Was Wide Enough
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