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Review: Hamilton, Bristol Hippodrome – ‘Thrilling, heart wrenching foot-stomping theatre at its best’
Hamilton, the phenomenal hit, has finally arrived in Bristol for an eight-week stint. It has gathered glowing reviews and collected numerous awards along the way, picking up a world-wide reputation as a ground-breaking, revolutionary show. But how is it different from other musical theatre? And is it really worth all the hype?
Based on the biography by Ron Chernow, this is the story of Alexander Hamilton, originally an immigrant from the West Indies who became a leading light in pursuing independence from George III’s Great Britain, and one of the revered Founding Fathers of the United States.
One innovation that writer Lin-Manuel Miranda introduced was to cast all the American principal characters with actors of colour. This, along with the fusion of hip-hop, jazz, blues, rap, and R&B, is what makes this show inspirational. This is no gimmick and allows the emotional depth and struggles with the old regime to be brought clearer into focus.
is needed now More than ever
Sam Oladeinde as Aaron Burr in Hamilton
Using such contemporary musical styles may sound like such a radical departure as to make the show inaccessible. However, the combination of an interesting, if standard, set comprising a series of balconies, ropes, staircases and a revolving central stage places Hamilton in the mainstream.
And then there is the music itself. Hip-hop and rap propel the story along at a zipping pace. With over 20,000 words spoken, there is poetry and wit aplenty and the rhymes and attitudes that the music conveys injects a tremendous energy that is simply irresistible.
Shaq Taylor as Hamilton, and Company
The music is not all cutting-edge stuff, though. There is a clever use of standard Broadway/West End type show tunes, deploying melody and change of pace, which is most effectively placed at moments when the narrative adopts a more reflective style.
Shaq Taylor is mightily impressive as Alexander Hamilton, a man in a hurry and not phased by who he might upset on the way. He grabs our attention from the moment he is introduced and never releases it. He is a brilliant if flawed man, and Taylor’s compelling performance reflects that. Sam Oladeinde as Aaron Burr, his first friend and ultimate foe, has the gravitas and emotional range to counterpoint Hamilton. “Speak less, and smile more,” he advises.
Maya Britto, Aisha Jawando and Gabriela Benedetti in Hamilton
It is ridiculous to single out individuals as the entire cast ensemble is superb. It is not often that touring productions can boast a cast of this calibre, but this one does. Maya Britto as Hamilton’s wife Eliza along with her Aisha Jawando as her sister Angelica Schuyler are equally magnificent, capable of singing sweetly and powerfully when required, and possessing both charm and strength in equal measure.
Billy Nevers twinkles in the dual roles of Lafayette and then Thomas Jefferson, while Daniel Boys provides pure comic capering as a peevish George III, played with a hint of our own current King.
Daniel Boys as King George
Charles Simmons’ portrayal of George Washington is perhaps most surprising of all. Instead of the white-wigged rigid saintly figure known mainly from portraits, we have a fully formed, politically astute man of authority and deep wisdom.
The degree to which the book relies on political intrigue is unique in theatre of this kind. Back room deals and realpolitik play a prominent role, and ‘The Room Where It Happens’ signals a change of direction in Act Two after the revolution has been won and the new republic needs to be forged, along with argument and counterargument.
Charles Simmons as George Washington and Company
It is tempting to concentrate on topical references, and these are scattered throughout, not least in the comment that “it takes an immigrant to get things done”. However, it is Hamilton’s story that drives us on.
The ensemble shines throughout, and the combination of fast-changing sharp sequencing, high energy footwork, breaking, locking and popping helps the lyrical flow. Not all the songs are standouts, but audiences will find new favourites, including My Shot, That Would be Enough, Satisfied and You’ll Be Back.
Sam Oladeinde as Aaron Burr and Company
The orchestra, sublimely conducted by musical director Zach Flis, is the cherry on the top. Indeed, the balance between music, lyrics and mood is spot on during every minute of the show and one is never drowned out by the other. The sound balance and lighting changes are so perfectly judged and well executed as not to be noticed because they are so seamless.
On press night there was a palpable buzz of excitement and anticipation and the resulting cheers and roars of approval are testament to the show’s universal appeal. This is a musical at its apex. Hamilton is different, due to casting and some of the musical styling, but in essence, it is thrilling, utterly absorbing, heart-wrenching, foot stomping, theatre at its very best. You may need to save up to get a ticket, but it is worth it. See it while you can.
Shaq Taylor as Alexander Hamilton
Hamilton is at Bristol Hippodrome from April 30-June 22 at 7.30pm, with additional 2.30pm matinee shows on Wednesday and Saturday (no shows Sunday). Tickets are available at www.atgtickets.com.
All photos: Danny Kaan
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