Review: Chicago's HAMILTON Ignites

Believe the hype.

Yes, Lin-Manuel Miranda's rap, hip-hop and pop-fused opus HAMILTON really is that good. From its opening "pomp and circumstance" notes to its final moment (a gasp of joy from Alexander Hamilton's widow Eliza), the show ignites the stage at the PrivateBank Theatre. It's every bit as good as what you'll see on Broadway.

As Alexander Hamilton, Miguel Cervantes is terrific as a man who is essentially the embodiment of American ideals. An orphaned immigrant who rose up from nothing to national prominence, Hamilton is a man who writes at a frantic pace, hoping not to "throw away [his] shot" and thus secure a legacy for himself as he fights for freedom in the American Revolution, argues for the ratification of the Constitution by writing the bulk of The Federalist Papers, and eventually lays the foundations for the country's financial and banking systems that continue to exist to some extent to this day. Cervantes is appropriately frantic as Hamilton begins to stitch together all the ideas he has. You can almost see Hamilton's thoughts racing through his head.

Hamilton's break comes when General George Washington (Jonathan Kirkland) convinces him to first be his secretary and, when elected as the first President, to sit in his cabinet as the Secretary of Treasury. Kirkland brings both grace and a regal stature to the role. His performance of "One Last Time," in which Washington forgoes running a third term in the hopes of ensuring the country is able to continue without him, is stirring in its honesty.

The Biggie to Hamilton's Tupac is, of course, Aaron Burr (Joshua Henry). Hamilton's ambitions are perfectly matched with Burr's. Fate affords Hamilton opportunities at every turn and Burr becomes more and more bitter over not "being in the room where it happens" that their rivalry eventually leads to a tragic duel. As Burr, Henry is the narrator of the piece. "I'm the damn fool who shot him," he tells us early on, recognizing the role of villain that he is destined to play. Henry seems to be pleading for his character's redemption throughout the show. His soulful rendition of "The World Was Wide Enough" might remind you of the mistakes you've made in your own life.

Hamilton's fellow sons of liberty include the sensitive and duty-bound John Laurens (Jose Ramos), the out-for-a good-time Marquis de Lafayette (Chris De'Sean Lee, who is a delight) and the original American super spy Hercules Mulligan (Wallace Smith). I make no apologies for my bias. Smith's Hercules is a cocky bad ass that I suspect isn't too far off from the actual Hercules (who was a tailor for the British army and dabbled in espionage). The trio also respectively play Phillip Hamilton (Alexander's first born son), a pompous Thomas Jefferson who rivals Hamilton at every turn and Jefferson's lackey, James Madison.

As King George, Alexander Gemignani provides some much-needed comic relief. Gemignani is a comedian gifted with an elastic face and in "You'll Be Back" and its subsequent reprises contorts it to covey contempt at the defiance of his subjects, bitterness and anger at losing the war, and finally relief and giddiness as the newly-formed country's leaders threaten to pull the country apart. His interactions with the conductor and the audience rightfully earned a number of laughs on the night I caught the show. It also helps that the pop tune features a melody you leave the theater humming.

For me, the true unsung hero of the show is Hamilton's much put-upon wife Eliza (played here with much grace and poise by Ari Asfar). Hamilton seduces her with "palaces made out of paragraphs," and Asfar and Cervantes share a great bit of chemistry. Eliza's older sister Angelica (and feisty, intelligent and big-voiced performance by Tony winner Karen Olivo) also shares a love for Hamilton, and, despite recognizing that much like herself that Hamilton will never be truly satisfied with anything he has, she brings the two of them together. Angelica's prophecy comes to fruition, of course (readers of history will note that Hamilton was party to one of our country's first sex scandals; I needed go into details here). Her Eliza works tirelessly to secure her husband's legacy until her own death. Asfar's performance is a triumph and her vocal work in the show's finale will move you to tears.

There is much to be admired in the piece which rescues one of our Founding Fathers from the pyre of forgotten history. The show succinctly covers events leading up to the birth of the country and many of our institutions literally take shape before our eyes. The actions of scholars, thinkers and revolutionaries have never felt more alive, personal and contemporary then they do in HAMILTON.

Tickets for HAMILTON are currently on sale for performances through Sept. 17, 2017 at the PrivateBank Theatre (18 W. Monroe). $65-$180. Call 800.775.2000. Hamiltononbroadway.com