Yes, I am very late to this particular party I know, but this weekend I had the chance to sit down and watch the filmed version of this Musical Theatre phenomenon. Available now from Disney + channel, but the performance is from a live show starring the show's creator in the title role, Lin Manuel Miranda, from the 2016 Broadway production.
It's quite a long watch; in a theatre with the atmosphere and lack of peripheral home distractions, I am sure this would not have been the case, but on screen, it felt to drag a little. I have never seen the show before, and only heard a little of the show's music. Watching it here on screen I felt that this was a show that actually should not work: an historically accurate account of the Founding Fathers of the USA, complete with authentic-looking militray and civil costuming, taking us back to 1776 and all that; and yet, this story is being told by a group of predominently black and Latino performers and conveying the story through hip-hop, rap, and other contemporary musical styles. These two things shouldn't marry, and yet you buy into it completely and it does work, not only does it work, but it works excellently. You completely forget that watching a black George Washington gyrating to a sexy rap beat is something you'd never have thought possible. It is a huge testament to the strength of the composition, that we can accept such a thing; the conviction and talent of Miranda to bring this story forth and update it to our contemporary sensitivities is what lies at the root of this musical's success.
I enjoyed the use of leit-motif greatly, creatively and cleverly using the same musical phrase or part of a song throughout for various characters or moods; and of course every single cast member on stage deserves full recognition for their talents and abilities. Rap music in particular needs a very specific style of delivery; crystal clear diction, and the ability to enunciate quickly whilst progressing the story's narrative. The amount of stage time each character has too is also quite imprressive, and so these performers need not only to be excellent actors and movers / dancers, but their vocals need to be top-notch too. It says a great deal when trying to find a 'favourite' or a cast member who stands out is almost impossible because the benchmark standard is just so high. Jonathan Groff's King George though was, if I had to make a choice, my favourite. His comedy timing, facial expressions, vocal dexterity, and whole demeanor and gait was nuanced, precise, and delightful.
For me though, the set was a let-down. A single composite set which was the same for the several decades the show took us through. It worked well for some scenes but for me it was neither optimal nor impressive enough for a Broadway musical of this calibre. The lighting however was very creative and expressive and used well, as was the choreography. The movement used throughout was highly creative and worked superbly, complementing both the styles of music AND the period in which the production was set. Very clever.
I was, until watching this, rather dismissive of Hamilton as a show, and I would never have paid for a ticket to see the show live. Now however, I have been converted, and urge anyone and everyone who has yet to see this show, to do so at their earliest opportunity, and learn about the unsung hero of modern-day America, [you can see Alexander Hamilton on a US $10 note]. I know the media like to use words like 'phenomenal' at every opportunity; but it is not one that I would ever use lightly and I cannot remember the last time I did; but Hamilton is just that, a phenomenon.
Reviewer - Alastair Zyggu
on - 26/7/20
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