Book Music
and Lyrics by Lin-Manuel Miranda
Directed by
Thomas Kail – choreographed by Andy Blankenbuehler
Scenic
Design by – David Konins – Costumes by Paul Tazewell
Lighting by
Howell Binkley – Sound by Nevin Steinberg
Streamed by
Disney Plus from 3rd July 2021.
Reviewed by
Bill Stephens.
Since Hamilton premiered on Broadway in 2015 It’s been
showered with awards, including 11 Tonys, and has quickly become a world-wide phenomenon.
Though the Broadway production is currently closed because of the Covid-19
restrictions, the Australian production of Hamilton
is, at last reports, still scheduled to open in Australia in 2021.
As part of
the American 4th July Celebrations, Disney Plus has released a film
of Hamilton, made in 2016, which features the original
Broadway Cast, which it is streaming in Australia from 3rd to 7th
July, and which, thanks to the American
Embassy in Canberra, I was invited to view.
Deliberately
ambiguous, with a cast of non-white actors portraying America’s founding fathers
and other historical figures, brilliantly designed costumes that suggest
historical accuracy without actually being so, and scenery on revolving stages constantly
materialising on the brilliantly lit stage, Hamilton
tells the story of founding father, Alexander Hamilton, by detailing major
events in his life through a fusion hip-hop, soul, R & B, and conventional
show tunes.
The concept
and execution of the show is breathtaking.
Its sheer pace and complexity is both exhausting and exhilarating. Your
eyes are continually tantalised by swirling figures, magnificent costumes and
striking lighting effects, while your ears strain to capture every syllable of the
brilliant dialogue, delivered at break-neck speed, by the ever-changing milieu
of characters, appearing, and then disappearing as seamlessly as they arrived.
While you
don’t have to be student of American history to follow the plot, it would
certainly be an advantage. Otherwise it’s unlikely that many non-Americans will
fully appreciate the historical nuances which abound, or recognise many of the
historical characters being portrayed. The colour-blind casting offers little
assistance in this regard, and no doubt, watching it in a theatre, the
significance of many of the plot details are likely to escape.
Despite
this, the brilliant staging, the intensity of the performances and the
choreographic spectacle, are more than sufficient to stamp Hamilton as a “must see” musical experience.
All these elements were revealed at very first
viewing, and among the advantages of viewing a film of the production, is the
opportunity to experience subtleties of the actor’s performances in close-up.
Another is the opportunity to watch it a second time……with surtitles.
Being
familiar with most of the lyrics from my CD of the show, I thought I had heard
everything significant, first time through. But the surtitles were a
revelation. Miranda’s extraordinary facility to manipulate words, and rhymes,
to match, exactly, the complex personalities of each of his characters, is captivating,
and part of the appeal of the show.
But, as
anyone who’s been to an opera quickly realises,
there is so much more to be discovered with the assistance of surtitles.
In the case of Miranda’s marvellously complex lyrics, it’s tantamount to
rediscovering the brilliance of the show for the first time.
Another
advantage of this excellent film is that it captures for posterity the
performances of the original Broadway cast. These performances will become the
templates for the actors who succeed them in the many productions this show
will inevitably spawn around the world.
Included
among these performances is that of the creator of Hamilton, Lin-Manuel Miranda, who, besides being one of the
producers, and providing the book, music and lyrics, also plays the title role
of Alexander Hamilton in this production. His is an impressive performance, but
it will be interesting to see other actors interpret this role.
There are
many other strong performances, including that of Leslie Odom Jr., who plays
Aaron Burr, Hamilton’s rival, and ultimately, his assassin. Daveed Diggs as Thomas Jefferson, and Renee
Elise Goldsberry as Angelica Schyler, Hamilton’s sister-in-law, both give
commanding performances, while Phillipa Soo brings a captivating mixture of
fragility and strength to the role of Hamilton’s long-suffering wife,
Eliza. Christopher Jackson also
impresses with the dignity and warmth of his characterisation of George
Washington.
But for this
reviewer, the element of this production that burns itself into the memory is the
precision and recklessness of the superb
ensemble which stunningly executes Andy
Blankenbuehler’s mesmerising choreography to provide a constantly moving frame
for the central performances. I can’t wait to see Hamilton in a theatre.
