Review: Hamilton
- The Verdict
- Oct 26
- 3 min read
Ten years ago, Hamilton opened at the Richard Rodgers Theatre to some of the most unanimously effusive praise in Broadway history. Ten years later, it continues to remind audiences why it deserves every bit of that praise — and more.
Lin-Manuel Miranda’s smash hit hip-hop/rap musical chronicling the life of one of America’s most forgotten founding fathers is a true masterpiece. I was able to return to it last month (after first seeing it in June of 2022), excited to revisit the show on the whole, but also to see Tony-winning actor Leslie Odom Jr. in the role that catapulted him to stardom. While we are so lucky to be able to see the production recorded forever on Disney+, nothing compares to being “in the room” (where it happens) and witnessing it live, in front of your eyes. You are able to truly admire the entire production; I found myself marveling at the lighting grid and taking notice of the designs, but perhaps the biggest benefit to being in the theatre is the ability to see all of Andy Blankenbuehler’s intricate choreography.
Let me take a moment here to shout out the ensemble. The precision with which they execute some of, if not the most difficult, choreography on Broadway is nothing short of jaw-dropping. They are moving for nearly the entire show, and yet it barely looks like they’re exerting any effort, most evidently during “Yorktown” and “Non-Stop” when they are flying across the stage every which way in perfect rhythm.
The rest of the cast was equally impressive. Trey Curtis brought a youthful energy to Alexander Hamilton—an interesting and refreshing interpretation of the role. He leaned more into melody than rap, a welcome contrast to Lin-Manuel Miranda’s original delivery. Morgan Anita Wood’s Eliza Schuyler was outstanding; her voice is beautifully suited to the role, and she captured Eliza’s emotional arc with striking depth. Covering Angelica, Reanne Acasio was stunning — not only vocally powerful but also deeply affecting. “It’s Quiet Uptown” was, as always, one of the show’s most hauntingly beautiful moments, performed with grace and precision by all three. David Guzman, Bryson Bruce, and Ebrin Stanley (as Laurens/Philip, Lafayette/Jefferson, and Mulligan/Madison, respectively) were each charming, devious, and charismatic in turn, and together with Curtis, the foursome drove the first act with infectious energy.
However, the star of the moment, Leslie Odom Jr., made it incredibly apparent why he won a Tony for playing Aaron Burr. Returning to the role ten years later, he has not missed a beat. After his first few lines were drowned out by one of the loudest bursts of applause and cheers I’ve ever heard, it feels like he never left as he flows right through the show, and by the time “Wait For It” comes around, the audience is primed and ready. He does not disappoint, although I do wonder why he sings the middle section — the most powerful part — with his back to the audience. But I am by no means complaining. Sniffles sounded all around me through “Dear Theodosia,” and once we got to the second act, he danced and sang his way through “The Room Where It Happens” flawlessly. His performance is one for the ages and a masterclass in acting through song.
If I had to complain about anything, it would be that there’s almost too much going on — though that’s hardly a bad thing. I found my eyes darting around the stage, especially during the big production numbers, going from Hamilton to the ensemble to Burr, then back to the ensemble, in constant movement. Director Thomas Kail truly fills all of the space, creating such a spectacle, a feast for the eyes and ears that will never disappoint.
4.5/5 stars
2 hours and 45 minutes, one intermission
Richard Rodgers Theatre
