Review by Tim Garratt
There’s not a single theatrical work of the 21st century that has enjoyed more global success than Hamilton. Lin-Manuel Miranda’s groundbreaking retelling of the life of US Founding Father Alexander Hamilton has garnered critical and audience acclaim in every city it’s played in the nine years since its premiere at New York’s Public Theatre. Along the way, it’s picked up a host of accolades, including 11 Tony Awards, seven Olivier Awards, a Grammy, and the Pulitzer Prize for Drama.
When Sydney audiences had their first chance to experience Hamilton in 2021, it was still in the throes of COVID-19, and the production was shuttered for four months because of lockdowns. Having since travelled elsewhere in Australia and internationally, Hamilton is now wrapping up its Australasian tour back where it began at the Sydney Lyric, providing locals who previously missed out another chance to be in the room where it happens.
And that’s an opportunity no theatre fan (or anyone slightly intrigued by the hype) should squander. On opening night of its Sydney encore season, the production is even better shape than it was last time around. Some familiar faces (including Jason Arrow in the title role) are joined by a number of performers making their Hamilton debut, but the entire cast is cohesive, energetic and committed to telling this story, and the show is a well-oiled machine.
Based on a 2004 biography by award-winning American author Ron Chernow, this musical follows Hamilton, an orphaned immigrant from the West Indies, from his time studying at university in New York in 1776, to his involvement in the American Revolutionary War, his role in establishing the US Government, and finally to his death in a duel with Aaron Burr (Callan Purcell). The music underscoring this epic story is primarily hip-hop, mixed with some jazz, R&B and Broadway, and there is virtually no dialogue (in fact, over the course of the show, Hamilton’s cast collectively raps and sings over 20,000 words).
Originally directed by Thomas Kail (and here in Sydney by Dean Drieberg), Hamilton is fast-paced, well-structured and totally compelling. Scenes featuring a couple of players transform into highly choreographed group numbers at the blink of an eye, and contract again just as seamlessly. Andy Blankenbuehler’s choreography is precise and elegant, showcasing the ensemble cast’s technique, utilising gesture beautifully, and creating tableaus that genuinely enrich the storytelling. It is some of the best stage choreography in any musical.
The set (designed by David Korins) is simple compared to the scenery of many musicals, its main elements including brick walls, wooden scaffolding, a wood floor, and coils and lengths of rope. But it’s so skilfully used throughout, it becomes the perfect backdrop for these dramatic late 18th century events. Paul Tazewell’s costumes simultaneously evoke the era and reflect the contemporary nature of the presentation, complemented by Charles G. Lapointe’s hair and wig design. And then there’s Howell Binkley’s dynamic lighting, which enhances the visual impact of the production and intensifies the dramatic impact of every key moment in the narrative.
Hamilton is a winner on every front, including in its casting. Arrow’s performance as the title character is superior to that which we saw from him three years ago in the original Sydney outing. No line is spoken without intention behind it. Clearly, Arrow has spent many hours developing his characterisation, and the result is a portrayal of Hamilton that’s exactly what the material requires – remarkably intelligent, uncompromising, ambitious to a fault, and deeply flawed.
Purcell also convinces as the power hungry and perfidious Burr, Hamilton’s long-time rival. Like Arrow, he presents us a complex character; a clever and charming man, who is opportunistic and appears not to be guided by any central principles. Burr is gifted some of Hamilton’s best numbers (‘Wait for it’ and ‘The room where it happens’) and each is well performed here.
New to the cast, Googoorewon Knox lends depth and integrity to his portrayal of the first US President, George Washington. Knox oozes presence and makes us believe that Washington is the kind of leader capable of leading a revolution and effecting change. His rendition of ‘One last time’ is an Act II highlight. Etuate Lutui (as Hercules Mulligan and James Madison) and Tainga Savage (as John Laurens and Philip Hamilton) give great performances in their respective roles. Meanwhile, Gerard-Luke Malgas makes light work of the frenetically paced ‘Guns and ships’ in Act I, and is a crowd favourite in Act II, with his charismatic and quirky take on Thomas Jefferson.
The female principals in Hamilton have less time to shine, but in this production, they make their mark. Akina Edmonds is still impressive as Angelica Schuyler, a role she originated in Australia. Vidya Makan joins the cast as Angelica’s sister and Hamilton’s wife, Eliza. There’s pathos in Makan’s depiction of Eliza, but most notable is the palpable anger she conveys in ‘Burn’. It rings very true, as the visceral reaction of someone betrayed and humiliated by their philandering and absent spouse. Original Sydney cast member Elandrah Eramiha remains strong as Peggy Schuyler and Hamilton’s lover, Maria Reynolds.
Rounding out the principal cast, Brent Hill is a scene-stealer in the show’s most entertaining role, King George III. Pompous and petulant, funny and fiendish, this performance is a masterly example of comedic acting in musical theatre.
Hamilton arrived in Australia to audiences with the highest of expectations, based on all of the overseas fanfare. The production now on stage in Sydney affirms precisely why this show quickly ascended to a prized place in the canon. This is history presented in spectacular fashion, with a powerhouse score and meticulous attention to detail across the board. It doesn’t get much better than this.
Hamilton is now playing at the Sydney Lyric Theatre
For more information: https://hamiltonmusical.com.au/
