This really won’t be a review so much as my love letter to HAMILTON. I first saw Lin-Manuel Miranda’s genius musical in 2016 when it first came to Chicago; ten years later — and on my sixth viewing — I love it as much as I did the first time. Miranda created a singular work in HAMILTON, but also paved the way for other contemporary musicals. With HAMILTON, he hit the sweet spot: He wrote a musical that has legitimate artistic merit and originality but also has become immensely profitable. That’s an extremely rare feat in the theater landscape.
Miranda’s retelling of the Founding Father’s story with an energizing, unique score that blends classic showtunes, pop Broadway, rap, and hip-hop is simply unparalleled. Every time I’ve seen HAMILTON on stage, or listened to the cast recording, I’m struck by how the show engages me intellectually and emotionally. Miranda’s genius and intentionality come across in every lyric and musical; it’s impossible not to marvel.I also cry every time I watch the show’s finale.
HAMILTON is both a thrill and a gut punch. The show’s first act is 90 minutes of “Non-Stop” music and action, while the second act is a gorgeous and more introspective recounting of the later years of Hamilton’s life.
Ten years since it debuted on Broadway, HAMILTON also continues to show that history can’t be divorced from modern politics. HAMILTON showcases the Founding Fathers as a diverse group of American men of color — and immigrants! When Hamilton and the Marquis de Lafayette proclaimed “Immigrants, we get the job done” on stage opening night, it felt like a radical battle cry against the current fractious political climate.
Above all, HAMILTON remains a joyous celebration both of musical theater itself and also of the titular Alexander Hamilton’s story and the democratic principles upon which the United States was founded. Director Thomas Kail’s staging (here helmed by associate director Patrick Vassel) notably also has the principals become part of the ensemble when they’re not center stage — it’s a beautiful metaphor for the idea that the American government should give voice to all its people. Each and every actor on stage has a literal voice as part of HAMILTON’s ensemble. Andy Blankenbuehler’s choreography and Alex Lacamoire’s musical arrangements remain a rush. Paul Tazewell’s gorgeous neutral and jewel-toned costumes continue to give HAMILTON its unique aesthetic, and the iconic turntable on David Korins’s set becomes a magical piece of the staging.
Point being, if you haven’t seen it yet, now is the time to see HAMILTON. This current touring cast is wonderful. Tyler Fauntleroy is an enthusiastic and confident Hamilton; his singing voice is more polished and less raspy than Miranda’s (who originated the role), but he expertly captures Hamilton’s scrappy and impulsive energy. Jimmie “JJ” Jeter has some particularly funny line readings as Burr; his punchy delivery of Burr’s dialogue is unique. He has a lovely singing voice and energy for days.. Understudy Amanda Simone Lee went on as Hamilton’s wife Eliza for Chicago’s opening night. She’s a terrific Eliza; she has a crystalline and full singing voice that’s a precise fit for the role. Marja Harmon and Lily Soto are similarly engaging as her sisters Angelica and Peggy. This is a Schuyler Sisters trio the way you want them.
A.D. Weaver is a magnetic and powerful George Washington; he has big vocals that match the bigness of his character. And in the dual roles of John Laurents/Philip Hamilton, Nathan Haydel is one of the few actors I’ve seen who really leans into the depiction of nine-year-old Philip — he’s quite funny. HAMILTON wouldn’t be HAMILTON without a great Jefferson to spar with the title role in the second act — Christian Magby clearly answers the call. And though his stage time is brief, Matt Bittner milks the plum role of King George III for what it’s worth.
After over a decade on Broadway and touring, HAMILTON has proven that “this is not the moment/it’s the movement,” to quote the show’s famous song “My Shot.” This is one of my personal favorite musicals, and it’s an absolute musical master class. This latest tour feels like a real HAMILTON homecoming. Whether you’re seeing HAMILTON for the first time or revisiting it like me, this cast gives you the full HAMILTON experience.
The current Broadway In Chicago engagement of HAMILTON runs through April 26 at CIBC Theatre, 18 West Monroe Street. Individual tickets range from $63 to $208 with a select number of premium seats available for all performances.
Tickets: broadwayinchicago.com
Photo Credit: Joan Marcus
FAQS about HAMILTON in Chicago
Where is HAMILTON playing in Chicago?
The national tour of HAMILTON is playing at CIBC Theatre, 18 West Monroe Street, in downtown Chicago.
When is HAMILTON playing in Chicago?
HAMILTON runs in Chicago through April 26 as part of the Broadway In Chicago season.
How much are tickets to HAMILTON in Chicago?
Individual tickets for HAMILTON typically range from $63 to $208, with a limited number of premium seats available for select performances.
Where can I buy tickets for HAMILTON in Chicago?
Tickets for HAMILTON can be purchased through the official Broadway In Chicago website at broadwayinchicago.com.
How long is HAMILTON?
HAMILTON has a run time of approximately 2 hours and 45 minutes, including one intermission.
Who wrote HAMILTON?
HAMILTON features a book, music, and lyrics by Lin-Manuel Miranda and is based on the biography ALEXANDER HAMILTON by Ron Chernow.
What is HAMILTON about?
HAMILTON tells the story of American Founding Father Alexander Hamilton, tracing his journey from immigrant to Revolutionary War hero, constitutional framer, and the nation’s first Secretary of the Treasury.
Is HAMILTON appropriate for kids?
HAMILTON is generally recommended for ages 10 and up. The show contains some mature themes and occasional strong language, but many families attend together.
How long has HAMILTON been running?
HAMILTON premiered on Broadway in 2015 at the Richard Rodgers Theatre and quickly became one of the most successful and influential musicals of the 21st century, spawning multiple national tours and international productions.
Rachel Weinberg Reviews 