Yes, some people have all the luck. My second time around for "Hamilton" in South Florida and I have to say, the cast in the current production of the Broadway Across America touring company at the Adrienne Arsht Center, well, there isn't a weak link in the bunch.
When the revolutionary smash hit came to the Broward Center in December of 2018, I was lukewarm on some of the players. It felt as if the vibe was, "Hey, Broward, aren't you so cool you're getting to see 'Hamilton'?' "
However, there isn't one iota of non investment by the actors in this "Hamilton," and whether you've seen it five times or it is your first time, it's what makes this production filled with the energy and excitement that has made the show still one of the most talked about Broadway musicals in, well, history.
"Hamilton" plays at the Arsht through March 15 at the Ziff Ballet Opera House in Miami.
Yes, you should feel special that you've snagged a ticket to the "Room Where It Happens" because "Hamilton: The Musical" is special. What Andrew Lloyd Weber's modern rock opera "Jesus Christ Superstar" was to Biblical telling, Lin-Manuel Miranda's modern rap opera about the United State's first treasury secretary is that to American history.
Sure, 11th graders may get confused a bit when they read the real history books and some of Miranda's takes on the characters are works of historical fiction. Was Jefferson really a showy rock star, Purple Rain Prince type?
There's something interesting about seeing "Hamilton" in today's political climate. When "quid pro quo" is mentioned, there's a collective chuckle from the audience, something that wasn't as noticeable before recent hearings on the Hill.
And, because this is a musical that deals with wheelings and dealings in history, it does bring about that old adage: the more things change the more things stay the same. There's partisan fighting and who wouldn't have liked to have seen the most recent political players (Schiff, Pelosi, McConnell, Graham) set up like they were debating in a Don King produced face off or battling in a rap showdown? That's "Cabinet Battle #2," the seventh song in Act II.
The role of Alexander Hamilton, was originated on Broadway by Miranda, who wrote the book, music and lyrics of "Hamilton" based on Ron Chernow's 2004 historical biography. In this production and defining "Hamilton's" color-blind casting, Edred Utomi is Alexander and he plays his Ham with conviction and determination. When he stumbles and falls in the "never satisfied" department, his emotions run deep.
Standout is Alexander Ferguson as Aaron Burr, Hamilton's rival, and ultimate assassin (yes, that's a spoiler, but it's a more than a 200 year old story), who feels like no matter what situation he finds himself in with Hamilton he's always going to lose. Ferguson resembles Miranda and that makes it kind of special. This actor would make a great Ham. Maybe next time around?
He's got the showstopping number, too, the jive "Room Where It Happens," the best song in the show. And, wait for it. There's a magic trick of Ferguson jumping as the tablecloth is pulled from beneath him, it's one of those now you see it, now you don't moments that makes all of "Hamilton" seem like sleight of hand.
The Amy Adam-ish Zoe Jensen is a delightful Eliza Hamilton, Alexander's wife, strong when necessary, but soft around the edges, too. Take some tissues to dry your eyes when she sings the haunting "Burn" about being scorned and burned by her husband, then burns his writings.
With all of the brilliance of this production, it has always astounded me that the foppish, sniveling King George is plunked in. The character seems better suited for a Monty Python musical, but the crowd eats up his comic moments and the creativeness of the King as a metaphor for England itself. Peter Matthew Smith is every inch the pretentious King George. Another bit of present-day irony as the current Royals are undergoing their own split.
Andy Blankenbuehler's Tony Award winning choreography gets lost in all of the sparks and pizzazz that surround "Hamilton," but keep an eye on it, especially his work with the dance ensemble. When you do, it adds another whole ethereal element to the show.
"Hamilton" is something to see, even if it is just to be part of Broadway history. There's no doubt this is one those icons that comes around not so very often in modern musical history. There are some areas that strike me as less than original. Listen to see if you agree that the music has a familiarity about it sometimes – say, Jonathan Larson's groundbreaking approach in "Rent?"
There's also the dilemma of the difficulty in understanding the lyrics. They whizz by so fast that it's best to listen to the soundtrack before you go.
When "Hamilton's" big buzz fades, will it still hold up as one of the great American works of modern theater. Time will tell and so will history. But, if I had to bank on it, I would.
"Hamilton" is at the Adrienne Arsht Center for the Performing Arts, 1300 Biscayne Boulevard, Miami, through March 15. (305) 949-6722, Performances 8 p.m. Tuesday-Saturday; 1 p.m. and 7 p.m. Sunday. Tickets $79-$449. Running time: 2 hours 50 minutes including one intermission. It isn't too late to get tickets, inventory has opened up. Lottery offers 40 tickets at $10 each to every performance; app hamiltonmusical.com/app or visit hamiltonmusical.com/lottery to register. Information, (305) 949-6722 or https://miami.broadway.com.
