Review: HAMILTON at The Paramount Theater

The legacy of Hamilton needs no rehashing – record sales, Tony wins and nominations, career launches, and undeniable songs. But is that legacy still preserved in the productions that continue to bear its name, or does any further attempt at putting on an official Hamilton show pale in comparison to the legendary original? Fortunately, the production of Hamilton performing at the Paramount Theater lives up to all the hype.

Here’s a quick synopsis: it’s the story of Alexander Hamilton, an immigrant orphan who rises to become one of America’s most influential Founding Fathers, told through a blend of rap, hip-hop, R&B, and musical theater. The diverse casting, creative liberties, and modern soundtrack inject new energy into history, making the story feel strikingly relevant—especially with lines like, “Immigrants, we get the job done.” Is it corny? Turns out, no! It’s just that good.

One of Hamilton’s many miracles is its sung-through structure. With almost no spoken dialogue, the show is essentially a non-stop whirlwind of music, and what a score it is! Every song is catchy, from the boastful bravado of “My Shot” to the heart-wrenching “It’s Quiet Uptown”. The fact that each song not only stands on its own but also propels the narrative forward is a testament to Miranda’s genius.

Directed by Thomas Kail, this touring production sticks closely to the streamlined staging and choreography of the original, preserving the visual and structural integrity that fans know and love. The set remains minimal—a wooden, rotating platform that evokes a spartan, cobblestone town square—but it never feels static from the dynamism and storytelling mechanisms used in the sound design and lighting.

Performance-wise, this production has some real standouts. Jisel Soliel Ayon playing Angelica Schuyler was sensational, both vocally and emotionally, and her chemistry with Blaine Alden Krauss’ Alexander was especially palpable. Simon Longnight’s Marquis de Lafayette was great and his Thomas Jefferson a show-stealer—his panache, energy, and comedic timing brought a burst of electricity every time he stepped on stage. And, of course, King George remains a comedic delight, Paul Louis Lessard nailing every deadpan aside and smug, self-important sneer. Krauss’ playing the titular Alexander Hamilton is confident, dynamic, and never misses a beat, slightly upstaging Deon’te Goodman’s performance of his counterpart Aaron Burr. Not that Goodman was bad, he just read as a bit stilted comparatively. 

My one critique: while the vocals were across-the-board excellent, the choreography and overall physicality felt a tiny bit stiff. This could be a result of the show’s tour longevity. Hamilton is, at its core, a kinetic show—its rapid-fire lyrics and intricate movement should make it feel like the cast is barely containing their energy. But at the performance I saw, it seemed like some of the actors were phoning it in just a little. The choreography, though still precise, lacked the vibrancy that makes the show pulse with life.

That said, even a slightly under-energized Hamilton is still a marvel. The material is so strong that it carries the production even when individual performances don’t quite hit their peak. And when I say “under-energized” I mean a 7 out of 10. Nobody was asleep at the wheel, I just wanted it cranked up a little more. For those seeing it for the first time, it will still dazzle.

Whether you’re a devoted fan revisiting the show or a newcomer finally experiencing the magic live, this production of Hamilton remains a must-see. This is a musical theater phenomenon for a reason, and it’s absolutely worth your time.

Grade: A-

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