Hamilton Review
JESSICA MALOSH | NOV. 8, 2021 | ARTS AND ENTERTAINMENT
The musical "Hamilton," directed by Thomas Kail and choreographed by Andy Blankenbuehler, was performed at the Times Union Center for the Performing Arts in Jacksonville, Fla. from Sept. 29 to Oct. 17, 2021. This review will be based on the Sept. 30 show.
The musical is set in colonial New York leading up to the American Revolution. Aptly named, the musical focuses on the life of Alexander Hamilton, a down on his luck orphan who immigrated to the American colonies in search of new opportunities. Upon arriving in New York, he seeks out Aaron Burr to find academic and career guidance. Instead, due to their different ideals, Burr becomes Hamilton's lifelong nemesis. Burr inadvertently introduces Hamilton to John Laurens, Hercules Mulligan, and Marquis de Lafayette. He forms a lifelong bond with them due to their similar ideals about a revolution against Great Britain.
Later, Hamilton meets the alluring Schyler sisters and develops a love triangle with sisters Eliza and Angelica Schyler. At the onset of the Revolutionary war, Hamilton is recruited by George Washington because of his writing and tactical skills. Throughout the war, he helped secure funds, garner support, and develop war strategies.
The latter half of the musical details Hamilton's life and career after the end of the war. He meets James Madison and Thomas Jefferson, with whom he becomes at odds for most of his political career. He eventually retires from the public eye after a political scandal and the death of his son.
Pierre Jean Gonzalez, who portrayed Alexander Hamilton, was breathtaking. He accurately reflected the emotions and ambitious nature of Hamilton. He also has a very personal connection to the musical, which made his performance better.
"I grew up in the Bronx, New York, and in Manhattan," said Gonzalez. "I never really saw myself in these musicals or shows, and seeing Hamilton was the first time. I was so honored to see my story on stage."
Gonzalez is also familiar with the music genre and style used in "Hamilton," which made him the perfect person for the part.
"When I saw Hamilton, I connected with the music because I grew up listening to hip-hop," said Gonzalez. "I grew up in the Bronx, where hip-hop was created. The whole culture of it all was a part of me, and I always wanted to audition."
His performance reflected his deep understanding of the concepts in "Hamilton," and his portrayal invoked strong emotions in the audience. His tone was powerful, which complimented the character of Hamilton's intense personality.
Ta'Rea Campbell's performance of Angelica Schyler was compelling. Vocally, her tone was rich and smooth. Her talent and control were especially apparent during her performance of "Satisfied," where she managed to sing 121 words in 24 seconds. In the same song, she also went into the whistle register, the highest register of the human voice. As for her stage presence, she exuded confidence and maturity, perfectly embodying her role as the oldest Schyler sister.
Jared Dixon artfully portrayed Aaron Burr's hesitant and cynical character. During his performance of "Wait For It," Dixon stayed stationary during most of the song, except for a few bursts of intensity, which adds to the audience's understanding of his internal turmoil. Through Dixon's movements, tone of voice, and expression, Burr's value of self-preservation becomes apparent.
In the first act, Warren Egypt Franklin played the role of Marquis de Lafayette. Unfortunately, his performance during the first act was ultimately disappointing. His attempted French accent garbled his voice, making him difficult to understand. However, he redeemed himself slightly with his impeccable comedic timing: he made hilarious quips when commenting on events in the show.
Franklin's performance took a turn for the better when he portrayed Thomas Jefferson in the second act. His singing, which was no longer hindered by the french accent, had an incredible tone. He personified Thomas Jefferson perfectly; his flamboyant movements and dancing expanded on historical accounts of Thomas Jefferson as a multifaceted and bourgeois character.
Marcus Choi, as George Washington, was nothing less than inspiring. His range from an intense war general to a gentle mentor and leader spoke to his emotional breadth. During his introduction during "Right Hand Man," he portrayed a fierce war general determined to win. However, in his performance of "History Has Its Eyes On You," his tone was tender and humble. Choi introduced a dynamic aspect into Washington's character that resonated with the audience.
Neil Haskell's performance was exquisite. He perfectly embodied the haughty King George III with his nasal voice and his slow, grand movements. Moreover, his comedic timing was spot on, and he never failed to make the audience laugh. His costume was fit for a king: he wore a long red cape that trailed behind him, held a scepter, and wore a big, scintillating crown. His garbs exuded luxury, which contrasted with the rough, half-built structures of the setting to reflect the power and wealth the British empire held at the time.
The set design was rustic and utilitarian, featuring a series of wooden walkways and half-constructed brick walls in the background. The haphazard construction of the set reflected the chaotic events surrounding the American Revolution and the feverish spread of patriotic ideals. The wooden walkways on the sides of the stage had wheels on them; they sometimes doubled as a ship or they were used to add height and movement to terrain during battle scenes. Also, since the scene shifts were incorporated into the choreography, these structures provided an inconspicuous way for characters and props to enter and exit the stage.
The costumes, designed by Paul Tazewell, fit with 18th-century fashion while also adding a modern twist. The dancers wore white shirts and skin-tight pants, which were perfect for their movement but also served as an accurate representation of late 1700s britches. In the battle scenes, the dancers donned iconic red coats to exemplify the attacks of the British.
The dresses worn by the Schuyler sisters were very extravagant, reflecting the wealth and status of the Schuyler family. The entire dress was covered with a fabric that had a silky sheen. The floor length skirt, completed with hip pads, starkly juxtaposed the tight, long sleeve bodice to create a vision of grandeur and luxury.
During this performance, the cast was accompanied by a live orchestra instead of a pre-set soundtrack. This allowed the actors and orchestra to improvise timing, especially during audience response, such as laughter and applause. On the other hand, while the live orchestra added more depth to the music and sound, sometimes the character's vocals were drowned out. This, however, did not happen often and, for the most part, did not hamper the understanding of the plot.
During intense scenes, such as the war battle scenes, the lights and sound combined to create a more vibrant atmosphere. For example, on multiple occasions during "Right Hand Man" and "Battle of Yorktown," the stage would light up, and the Bass Drum would sound simultaneously to mimic cannon fire. In addition, the lights would sometimes move quickly into the audience into these scenes, which reflected the intensity and shock that the proponents of the revolution would have felt.
Because "Hamilton" is such a dense show, it may be good to do prior research before seeing the show. Most of the songs performed are incredibly fast-paced and include a lot of historical information.
"Definitely listen to the album before to help out understand the story and the plot if you want to," said Gonzalez. "If you want to be surprised, then show up and be ready to take in all the music and the performances. It's an amazing experience for everyone."
All in all, this performance of “Hamilton” the musical was spectacular. The show was intellectually stimulating and a visual delight. It has something for everyone, from catchy hip-hop music to the convergence of historical and modern perspectives.