Review: HAMILTON at Bass Concert Hall

It’s back, and we were in the Room Where It Happened. Lin-Manuel Miranda’s HAMILTON is running here in Austin through April 6th. Inspired by Ron Chernow’s 2004 biography Alexander Hamilton, the musical premiered Off-Broadway in 2015 at The Public Theater before transferring to Broadway later that year, where it became a cultural phenomenon. Can you believe it? TEN years ago? 

Some of us were skeptical, remember? A rap musical? What was this groundbreaking musical that reimagined the life and legacy of American Founding Father Alexander Hamilton through a fusion of hip-hop, R&B, jazz, and traditional musical theater? HAMILTON garnered widespread acclaim, the show earned 11 Tony Awards, including Best Musical and Best Choreography for Andy Blankenbuehler’s innovative and emotionally charged movement. The show also received the Pulitzer Prize for Drama and a Grammy Award for Best Musical Theater Album, cementing its place as a modern theatrical masterpiece.

The show stands up to the test of time. Ten years ago it was groundbreaking, but in 2025 the show is also a revolutionary musical about a revolution, when we are in the midst of what may be another revolutionary time in our country’s history. HAMILTON was always about power and legacy and the fragility of democracy. But in the backdrop of our current political climate, Miranda’s recent decision to cancel HAMILTON’s performance at the Kennedy Center due to the venue’s politicization under the Trump administration, we have a demonstration of how the show itself has become a form of political resistance. This real-world action adds a new layer of relevance, with the show’s themes of standing up to power and fighting for ideals playing out offstage as well. You might check out BroadwayWorld’s Rachel Schmaier’s piece on the Kennedy Center’s takeover to learn more about resistance and just who gets to tell our stories in the world of theatre and art.

Kennedy Center upheaval or no, we still get to experience HAMILTON. And it’s a worthy experience. This show, and this cast, is crisp and commanding. Blankenbuehler’s choreography is dynamic and taut. From start to finish, every move the cast makes is remarkably in concert. Conductor Emmanuel Schvartzman’s orchestra is truly magnificent. And all the key players hit their marks with glorious zest, embodied skill, and great talent. Tyler Fauntleroy’s Hamilton is full of vitality and ambition, and his rich vocal capacity is refreshing and new on the ears if one is accustomed to the original cast. This goes for A.D. Weaver’s larger than life George Washington, as well. From his bio, which includes THE COLOR PURPLE, RAGTIME, and FIVE GUYS NAMED MOE, you can easily imagine the prowess he brings to the General. Lauren Mariasoosay is compelling as Eliza, her raw passion and steely resolve blazing through “Burn” with such intensity that it nearly had us on our feet midshow. As A-Dot-Burr, JJ Jeter is an approachable, effortless nemesis to Hamilton. We can easily see Hamilton and Burr’s complex relationship through Jeter’s character work. It shouldn’t come as a surprise that every single member of this cast is up to the challenge of these iconic characters. A particular mention though, should go to Lily Soto, who, as Peggy and Maria, is a particular standout who seemed to touch me. This cast is rightfully full of gifted actors, and Soto shines as bright as the best of them.I haven’t mentioned Justin Matthew Sargeant as King George. While all characters in Hamilton are iconic, Sergeant has a good amount of work to do to distinguish himself from Jonathan Groff. And distinguish himself he did. The trouble with this production of HAMILTON however, comes in when some of our other characters take on the acting style associated with the character of King George. For instance, Jared Howelton’s wonderful talent as Thomas Jefferson is overshadowed by some directorial choices that send the character in the direction of caricature. This choice happens in some other places and with some other characters as well. The differing choices seen from these actors from the original production (and the Disney film of them) are mostly refreshing and worthy, but at times skirt the edges of being performative. 

I also find the sound at Bass Concert Hall to be challenging at times. HAMILTON throws a lot of words our way and you might be wondering, “What Did I Miss?” I’m not sure there’s a way around this, so to get the full effect of this Pulitzer Prize winning masterpiece, you might have a listen to the soundtrack first. That is, if you aren’t one of those who’ve heard it enough to sing along.

These criticisms are in no way meant to shadow the experience you’ll have by attending the show. I stand by just how superlative this production is as a whole. I found the talent and electric energy of the ensemble stellar. Go see the show. If you don’t, you may Never Be Satisfied.

HAMILTON

Book, Music, and Lyrics by Lin-Manuel Miranda

Choreography by Andy Blandeknbuehler

Directed by Thomas Kail

Through April 6th

Bass Concert Hall

2350 Robert Dedman Drive

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