Review: Lin-Manuel Miranda's Award Winning Revolutionary Musical HAMILTON Opens In Sydney

Tuesday 23rd March 2021, 7:30pm, Lyric Theatre Sydney (Industry Preview Reviewed)

Lin-Manuel Miranda's multi award winning musical that broke the mold of musical theatre, HAMILTON, opens in Sydney. The first production of the work to open outside of the US and the West End and the only company to be running post the outbreak of the pandemic opens to the delight of eager Sydney audiences.

While Australian audiences may be less familiar with American history, they generally are not alone when it comes to prior knowledge of central character Alexander Hamilton (Jason Arrow) as, despite being on the US $10 note, many of his own citizens know little about the former Secretary of the Treasury beyond his untimely death due to a duel with then Vice-President Aaron Burr (Lyndon Watts) on the 11th of July 1804. The story of Alexander Hamilton, inspired by Ron Chernow's book ALEXANDER HAMILTON, centers on the lesser-known American Founding Father and his role in the American Revolution and the early days of the newly formed United States. HAMILTON is an immigrant story which also promotes the idea that to achieve greatness requires sacrifice and that if you want something, you have to work hard for it, being responsible for your own education and then apply that knowledge and that sometimes you have to let go of your pride.

Like Lin-Manuel Miranda's earlier Award Winning IN THE HEIGHTS (2008), HAMILTON, which had its Broadway debut in 2015, utilizes rap, hip-hop, R&B along with more traditional musical theatre stylings. The synergy between the wordiness of the music styles and Alexander Hamilton's prolific writing helps reinforce Miranda's focus on "the words' ability to make a difference". In addition to the choice to challenge the status quo musically, HAMILTON is also well known for the choice to engage a diverse cast that represents modern society rather than the 18th century characters they are portraying, and the Sydney production continues this decision with Australian and New Zealand performers of color engaged, with only the occasional performer transferred from the currently paused US productions.

Given the popularity of HAMILTON on Broadway and the West End and the 2020 release to Disney+ audiences are likely to be familiar with the work and it is natural to make comparisons between the productions. Thomas Kail's (Director) vision is maintained with the assistance of Resident Director Amy Campbell with subtle differences in the Australian execution. The normally frenetic pace of the music and therefore text is slowed ever so slightly, potentially to ensure the lyrics are heard by audiences that may not be as attuned to the musical styles, particularly when combined with accents. This works for the expression of emotional investment as the impression is given that the performers have a deeper understanding of the underlying sentiments, allowing them to express it without overplaying. It feels like there is a greater playfulness and cheekiness infused into the work, expressing some of the Australian spirit to reinforce that in many ways Hamilton and his cohort of Marquis de Lafayette (Victory Ndukwe), Hercules Milligan (Shaka Cook) and John Laurens (Marty Alix) are a rebellious ratbag gang while Burr continuously feels like the kid not picked in the playground which manifests as an increasingly bitter resentment to the 'popular' kid Hamilton. There are also subtle shifts in the expressions of the characters with George Washington (Matu Ngoropo) given a softer edge and Eliza Hamilton (Chloé Zuel) appearing less naïve but rather a larger character containing herself to conform with society's expectations of a second daughter and wife.

While the music of HAMILTON is powerful, the visual aesthetic is also captivating with Andy Blankenbuehler's choreography and Paul Tazewell's costume design working with David Korins set that holds secrets with the aid of Howell Binkley's lighting design. The costuming for the core characters stays true to the 18th century setting while the ensemble wear muted cream expressions of the styles that have been merged into more modern interpretations while all hairstyles and makeup are contemporary, reinforcing the intent that history is being told by a modern representation of society. Blankenbuehler's choreography makes use of Korins detailed multilevel set to have action on the main stage and on the upper balcony. The ensemble are presented as more of an echoing force supporting the main story but never distracting from it. Binkley's lighting helps reinforce suspenseful moments and gives visual clues to events that are not presented on stage like the aftermath of battle when the stage is washed with red.

As Alexander Hamilton, Jason Arrow delivers a strong performance that also gives Hamilton an undertone of imposter syndrome nervousness that battles with his strong beliefs at the start, allowing his character to develop over time to become more confident and forthright yet continuing to work hard to achieve his goals. Lyndon Watts expression of Aaron Burr ensures that his feelings about the outspoken Hamilton are clear in his physicality and facial expressions. Brent Hill amps up the poutiness to present a petulant child expression for King George when the English ruler sends out his warning "You'll Be Back". Marty Alix's turn as Philip Hamilton is wonderful as he captures Hamilton's son, from the 9-year-old wanting to please his father to the college graduate defending his father. Chloé Zuel's rendition of "Burn" is beautifully measured in its expression of hurt, anger and betrayal and her part in "The Finale: Who Lives, Who Dies, Who Tells Your Story" is captivating.

While Australian audiences may be less engaged with the American History element of HAMILTON, the underlying messages of the need for hard work and sacrifice to achieve success, flawed characters seeking to leave a legacy, the only way for change to occur is to stand for something, and the need to have a dream and the courage to pursue them is universal. Just as Hamilton had a dream for a country he could be proud of and a desire to remove a distant power that didn't have the new nation's best interests in mind, the current deviations that governments world wide have made are prompting people to seek change through protest and calls for change proving that while the story is over two centuries old, it still holds a relevance in the 21st Century. This is a wonderful production proving that Australian's can produce great theatre to rival the Broadway and the West End and given the current travel restrictions and threat of Covid-19 overseas, this production is a much safer and cost-effective option for Australian audiences to experience this work.

https://hamiltonmusical.com.au/

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