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HAMILTON - US Tour Dates Mar 28 - Apr 7 Norfolk, VA Chrysler Hall Read More
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The cultural phenomenon has finally returned to a live stage in our area--
HAMILTON, Lin-Manuel Miranda’s game-changing musical and history lesson that tells the story of America then, via America now, has returned to downtown Kansas City, for a two-week engagement at the Music Hall, through Sunday, April 2.
The revelatory score blends hip-hop, jazz, R&B and Broadway, chronicling the rise and fall of founding father Alexander Hamilton and has blossomed into being a lasting creative piece that has transcended the theater genre, to have a rippled effect on politics, education, television, and the arts itself.
Based on Ron Chernow’s 2004 biography, its book, music, and lyrics are by Lin-Manuel Miranda (who dazzled us initially when he was barely known and we saw the first tour of his previous musical, In the Heights) with direction by Thomas Kail.
With choreography by Andy Blankenbuehler and musical supervision and orchestrations by Alex Lacamoire, the show would go on to win 11 Tony® Awards, as well as Grammy®, and Olivier Awards, the Pulitzer Prize for Drama, and a special citation from the Kennedy Center Honors, with so many in the cast becoming seemingly overnight superstars in the process.
Growing exponentially from its 2013 workshop roots, the show itself has now become so huge, it features an ongoing NYC run, international and Canadian versions, and three concurrently touring US companies – for Kansas City, we were witness to the “Angelica” cast; which proved to be most appropriate as her character and the actress portraying her (Stephanie Umoh), was one of the show’s many highlights.
To be a successful Hamilton cast member, one not only has to be able to act, move, and sing, as most Broadway and touring productions would require; but an additional unique and key element of having lyrical flow is an essential skill necessary to successfully pull off the complicated and often hyper-paced, hip-hop styled lyrics.
Additionally, the nature of hip-hop songs are so much about being “in the moment”- relevant and urgent, both musically and lyrically themed at their time, but often seem to lose their impact ten, five, or even one year later. Hamilton’s lyrics seem to be the exception, perhaps because they double as a civics and history lesson, but are also mostly solid songs, that even the biggest non-hip-hop fan, will still be humming a chorus to, as they leave the theater.
During his relatively short life, the orphaned, Nevis-born Alexander Hamilton served as George Washington's chief aide, and was the first Treasury Secretary, instilling a financial foundation for the nation that still remains mostly intact today.
He had streaks of impetus judgment though and was despised by many of his fellow Founding Fathers, eventually gaining a longtime nemesis in Aaron Burr. Hamilton’s character imperfections, like the show itself, are flaws that add, not take away from the overall charm and appeal. During the show, duels are embellished with expressive dance movements and congressional debates morph into modern-day rap battles to advance the narrative.
For our Wednesday (3/22) performance, a few of the diverse cast was replaced by standbys, notably Kansas City native Bryson Bruce in the lead. From the playbill listing, he’s able to perform in almost any role, and smoothed into the primary, after finding some footing during the opening number, with the hometown crowd quickly accepting him in the role.
All three performers as the Schulyer sisters were strong, particularly stage veteran Umoh whose voice soared during her solo songs along with Josh Tower, who plays a solid Aaron Burr. The nimble and restless Deejay Young as Lafayette/Thomas Jefferson was ever-animated and brought a light playfulness to both roles (in a kind of Katt Williams/vintage Little Richard way), and Peter Matthew Smith’s pomp King George was the ideal blend of snarky vengefulness and spite, to keep the audience enthralled during his three brief on-stage appearances.
The stage design mirrors the Broadway production (complete with rotating center and a rolling staircase), lighting was ahem, spot-on, particularly in the contrasts between the high-energy numbers and the more sullen and sparse scenes of loss, and the precise choreography never missed a beat.
A decade later, Hamilton remains young, scrappy, and hungry and in Kansas City, the only place to be (provided you can find a very still-in-demand ticket) is at the Music Hall, the room where it happens.
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(Hamilton is playing at the Music Hall through Sunday Aoril 2)
(all photos courtesy of the official touring company website, click on any image to enlarge and see in full)
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| John C ♥ johnc@weheartmusic.com ♥ twitter.com |
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