Review: Hamilton
Festival Theatre, Edinburgh ⭐️⭐️⭐️⭐️⭐️
It is 1776 and in New York you can 'be a new man' which is exactly what 19-year-old Alexander Hamilton plans to be. Yes, Lin-Manuel Miranda's Broadway and West End smash hit musical has arrived in Edinburgh, where its high energy mix of hip-hop, blues and musical theatre ensures Hamilton continues to be the coolest musical on the planet and producer Cameron Macintosh was in attendance along with the great and good of Scottish theatre and politics to celebrate the biggest gala opening of Edinburgh's theatrical calendar this year.
Historical, political, yet edgy and contemporary, Hamilton is a conundrum. Eighteenth century history and a hip-hop score should be like oil and water but in Miranda's global must see show they emulsify and compliment each other perfectly to create three hours of powerful storytelling.
Hamilton charts the life of one of America's founding fathers, Alexander Hamilton, an immigrant from the West Indies who became George Washington's right-hand man during the Revolutionary War, helping shape the America we know today.
This retelling of the birth of the United States, the programme tells us, is inspired by the book Alexander Hamilton by Ron Chernow, but it is also worth noting that debates continue to rage about the degree of artistic licence, or historical revisionism, Miranda has employed in his representation of the man and his life.
Indeed, there are those who find elements of this reimagining problematical. Taking the production at face value, however, Hamilton is an age old tale; one of ambition, dreams and power, with an obligatory love interest or two woven through for good measure and a suitably bittersweet emotional pay off.
It also has a big heart and if Act One is packed with all the show's iconic, foot-tapping hip-hop numbers, songs such as Alexander Hamilton, My Shot and Stay Alive, so the second act takes a more thoughtful, traditional musical theatre approach to the tale as the politics of the day take centre spot - One Last Time and The Room Where It Happens entice particularly warm reactions.
Unlike the original London cast, there are no star turns in this production with the exception, perhaps, of Daniel Boys' King George, a show stealing spoilt brat of a character who milks it for all it is worth without ever over-stepping the mark. A real audience pleaser.
Rather, this is an ensemble piece performed with skill and dedication by a robust 21-strong company led by Shaq Taylor in the title role. As the eponymous hero, Taylor brings a cheeky, streetwise aspect to the role while never being afraid to explore the unlikeable side of Hamilton's nature, his Alexander is charming, supercilious and arrogant in turn.
Taylor has able support from those around him with Aisha Jawando particularly impressive as love interest, the sassy, strong-willed Angelica Schuyler. Her rapid fire delivery of Miranda's rapped lyrics are attention grabbing. Likewise, KM Drew Boateng is a powerful presence doubling as Hercules Mulligan and James Madison, the rich resonance of his vocals intoxicating.
Elsewhere, Sam Oladeinde as Aaron Burr and Maya Britto as Eliza, both prove suitable foils for Taylor as Hamilton's friend and rival and long-suffering wife, respectively.
Throughout, Miranda's writing boasts an hypnotic poetic rhythm in this sung-through delight, which seldom pauses to catch its breath. It plays out on David Korins' spacious, evocative set, beautifully lit by Howell Binkley. Paul Tazewell's period costumes add colour and impact. The revolves centre stage are put to imaginative effect and, when combined with Andy Blankenbuehler's electric choreography and Thomas Kail's forensic direction, allow beautiful tableaus, snapshots of history, to be created and frozen momentarily in time.
Indeed, Blankenbueler's choreography is awe-inspiring in its vision, he has an eye for capturing the emotion and energy of each scene with glorious, often unexpected motion and movement.
Productions of this calibre are a rare beast on the touring circuit and consequently Hamilton is selling out fast with many performances already full and the rest sporting a 'final tickets' tag at the box office. Don't miss your chance to 'be in the room where it happens'. If you have a chance to see this production while it's in town, rise up and don't throw away your shot.
Runs until 27 April. Tickets here. Full tour details here.
