Lin-Manuel Miranda’s Hamilton swept into Los Angeles on Wednesday with the frenzy of rock concert, which is exactly what longtime theater watchers have been dreaming about for years. Where was the musical that could integrate current pop music genres into the uniquely American form of musical theater? Well, it has finally arrived.
Miranda’s piece combines traditional elements of opera, oratorio and musical theater with the contemporary genres of hip-hop, pop music, gospel and dance. Miranda faced the difficult task of blending familiar forms (dating back to the 17th century) with the rhythms and sensibility of modern culture. Mixing the familiar with the innovative is the reason for the musical’s success, not to mention its brilliant execution.
This show is primarily about the poetry and drive of Miranda’s lyrics, which elevate the traditional oratorio form of recitative (think of the repetitive musical interludes of Handel’s Messiah) to an entertaining and energetic dynamism. The musical set pieces (think of the arias in an opera) are not quite as memorable, but Miranda’s work is really all about his lyrics and rhythms, which are outstanding.
Miranda also chose what initially would seem to be a dry and untheatrical subject matter – the life of Alexander Hamilton, one of the more controversial of the Founding Fathers. However, this was also a very clever decision, since it provides a traditional narrative with which to build upon. Miranda was also determined to turn Hamilton from a historical figure into a theatrical character, not focusing so much on historical niceties, but rather on theatricality.
And there is plenty of theatricality here – with an ensemble of dancers onstage almost constantly, giving the story a sense of non-stop motion, even as the characters rap out jazzy lyrics about dry topics ranging from the national debt to intraparty politics. Add to the mix a steady pop music beat, which breaks out into the kind of rousing ensemble numbers familiar to both the Broadway stage and rock concert venues.
While there has certainly been considerable focus on “alternative casting” (i.e. non-white), this becomes a fairly minor point in the actual staging of the show. George Washington (forcefully played by Isaiah Johnson) is much more believable in this production than in the stiff, white-haired caricature that one often sees. Historians often remind us that history is constantly changing and renewed by contemporary viewpoints, which is exactly Miranda’s point – and one of the great strengths of the piece.
All the players in this finely crafted touring production are solid and even outstanding. Michael Lowoye plays Alexander Hamilton with both the force and vulnerability of the underdog. Johnson is a commanding Washington and Jordan Donica is outstanding in the roles of Lafayette and Jefferson, as is Ruben Carbajal in the roles of John Laurens and Philip Hamilton. Emmy Raver-Lampman and Solea Pfeiffer are both strong as Angelica Schuyler and Eliza Hamilton, and Rory O’Malley is hilarious as King George.
One caveat relating to the overwhelming success and popularity of Hamilton -- we should brace ourselves for a slew of musicals that attempt to emulate the power and reach of Miranda’s work. However, just as many tried and failed to follow in the footsteps of Stephen Sondheim when he broke the mold of the Broadway musical, there will be many more that try and fail to match the brilliance of Lin-Manuel Miranda. That will be difficult if not impossible task – Miranda stands alone (at least for the moment) in not only the strength and depth of his lyricism, but also in his profound understanding of the many strains of the American musical form.