Review: HAMILTON, Birmingham Hippodrome

To call Hamilton a phenomenon is almost an understatement. Since its 2015 premiere, Lin-Manuel Miranda’s musical about American-Founding-Father Alexander Hamilton has broken box office records, scooped 11 Tony Awards, seven Olivier Awards and the Pulitzer Prize for Drama, and has been credited as changing the face of musical theatre forever. Now it’s finally on its first UK tour, giving audiences across the country the chance to see if the hype is real.

The biographical musical was inspired by Ron Chernow’s book Alexander Hamilton, and covers Hamilton’s immigration to America from the West Indies, his role in the Revolutionary War as George Washington’s right-hand man, and his creation of the financial systems that still exist in America today. We also learn of his love affairs, losses and obsession with creating a legacy. While a knowledge of American history will certainly help audiences to understand the show’s intricacies, the subject is presented so accessibly that even those unfamiliar with the topic will be able to follow Hamilton’s rise and fall. 

Miranda’s score is nothing short of extraordinary, blending rap, hip-hop, R&B and pop with traditional musical theatre, and there’s not a weak song among the 46 tracks. The lyrics are smart, snappy and often funny, delivering huge amounts of historical information while also illuminating the characters. As a sung-through musical, the pace is non-stop, lending even more resonance to the rare ballads like “Burn” and “It’s Quiet Uptown”. Thomas Kail’s original direction is exhilarating and ensures the audience never loses focus.

The production hasn’t been reduced in any way for the tour. David Korins’ striking industrial set with its balconies, moving staircases and revolving central platform brings the full Broadway experience, and Howell Binkley’s punchy lighting design intensifies every important moment. Nevin Steinberg’s sound design translates perfectly to the Hippodrome, with the pounding music balanced well with the vocals. The excellent ensemble cast execute Andy Blankenbuehler’s fluid and expressive choreography flawlessly, making full use of the set’s different levels.

Hamilton’s main roles are demanding and most of the tour cast perform admirably under the pressure. Shaq Taylor leads the cast, embodying Hamilton’s journey from cocky, eager young man obsessed with proving himself to a more considered but still passionate statesman, and his vocals and diction can’t be faulted. Sam Oladeinde’s restrained, smug Burr forms a solid counterpart to Taylor's Hamilton, though Oladeinde doesn’t reach the same levels of resentment and fury that previous Burrs have exhibited, and he makes some distracting vocal choices in “The Room Where It Happens”.

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Charles Simmons has gravitas and smooth vocals as Washington, and DeAngelo Jones is charismatic and playful as both John Laurens and Philip Hamilton. Billy Nevers gives us an ebullient and snarky Thomas Jefferson who occasionally threatens to steal the show, and Daniel Boys holds the audience in the palm of his hand every time he steps out in the iconic King George role.

Not all the cast are perfectly suited to their roles. Aisha Jawando’s Angelica is strangely un-spirited, showing little chemistry with Shaq or with Maya Britto’s sweet Eliza, and her lack of enunciation means that many of her lyrics are indecipherable, so songs that should be some of the best in the show such as “Satisfied” and “The Schuyler Sisters” fall flat. KM Drew Boateng’s first act role as Hercules Mulligan also suffers from diction problems, though his second act performance as James Madison is more successful.

It’s a testament to Miranda’s almost perfect show that even with some performance issues, Hamilton is still a stunning and moving experience. Its impact isn’t diminished even after several viewings, and its themes of love, grief, ambition, freedom, forgiveness and family are always resonant. Don’t throw away your shot at seeing this show in a city near you.

Hamilton at Birmingham Hippodrome until 31 August, then touring

Photo Credit: Danny Kaan