Some 15 years ago I read Ron Chernow’s biography of Alexander Hamilton. Having until then only a vague knowledge of Hamilton’s life and achievements, I found the biography to be both informative and engaging. I really enjoyed the read, but in all honesty, I have to admit that the idea that the book would provide the basis for a musical did not cross my mind for one second.
Yet, to my astonishment – an astonishment I am sure that is shared by many others – that is exactly what occurred to Lin-Manuel Miranda. The result was Hamilton, the musical that has proved to be a theatrical triumph.
It is true that before writing the show, Miranda had scored a hit with In the Heights, though when I saw the original production in New York, I must confess I found it less than engaging; it certainly did not prepare me for the superb achievement of Hamilton.
My introduction to this was, as for many, the CD recording, which proved to be impressive, entertaining, and surprising. After all, who could predict that an account of the amazing life of one of America’s Founding Fathers, told in rap and a variety of other musical styles, with colour-blind casting, could actually work?
Next, at the height of the COVID restrictions, I was delighted to be able to see a filmed performance by the original cast on Disney Channel and enjoyed every moment of it.
Now, thanks to the touring version on show at Vancouver’s Queen Elizabeth Theatre until June 29, I have been able to see the complete stage production.
And what a production it is!
Nothing – not the biography, not the CDs, not the televised version – had prepared me for this stunning piece of theatre. This was clearly a shared reaction as at the performance I attended. It was apparent from its opening roar of approval that that the sold-out audience was ready to embrace a show with which it was already familiar. And who could not to be mesmerized by a musical so cleverly scripted and so astonishing in its staging?
The talented cast sang and acted superbly. This is perhaps to be expected, though not always guaranteed. But what surprises is the complexity of the production. This is live theatre at its best, generating an electric atmosphere and sweeping up cast and audience into one unforgettable experience.
A clever and multi-functional set allows the action to unfold with astonishing smoothness; the cast is required, at the expense of enormous and apparently boundless energy, to engage in impressively complicated choreography, while participating in the changing of costumes, arranging of props and furniture, all the while singing and dancing, as scene after scene of Hamilton’s astonishing and tragic life is presented.
Just how Alex Lacamoire, the choreographer, and Andy Blankenbuehler, the director, were able to lend such life to Miranda’s book and score is a theatrical marvel. A series of scenes, ranging from bars, to ballrooms, to the rooms where the American Constitution was debated and to small family rooms, are written and presented with clarity. Hamilton’s life is narrated in such a way as to help the audience understand what a formidable person he was. It is indeed a clever show.
Over the years there have been a few ground-breaking Broadway musicals: Kern and Hammerstein’s Showboat, Rodgers and Hammerstein’s Oklahoma, Sondheim’s Company, Kirkwood and Dante’s A Chorus Line leap to mind. To that prestigious list one must now add Hamilton.
Yes, I know the tickets are expensive, but considering the size and complexities of the set and the equally impressive lighting which must be transported, in addition to the cast and orchestra, this is perhaps understandable. It was clear that the Vancouver audience, which has so long been denied live theatre, considered the investment paid off. It certainly got its money’s worth! And even if you missed seeing it this time, it will undoubtedly return – so start saving!
