Hamilton (2020)

Oh, Lin-Manuel Miranda, swooping in right when we need him most. It was the pandemic that caused this filmed recording of the OBC of Hamilton to be released more than a year early, on Disney+ instead of in theaters. In the time since this release was first announced, a political revolution also kicked off, and on this 4^th of July, it was very welcome to receive this gift of the original cast of Hamilton on my screen.

Alexander Hamilton, one of the OGs of the American Revolution, accomplishes the incredible due to his skill with the written word.  Born poor and illegitimate in the Caribbean, he makes it to New York and hits the ground running.  Hamilton is armed with his passion, persistence, and clever/audacious verbosity, and he soon finds friends (like the Marquis de Lafayette, John Laurens, and Hercules Mulligan,) mentors (George Washington,) rivals (Aaron Burr,) and opponents (like Thomas Jefferson and James Madison.)  He throws himself into the revolution, and later, the forging of a new nation, with unquenchable tenacity.

It was so good to see this show again. I treasure every recorded stage performance of a show – even when they’re shows that I don’t connect with as much personally, it’s still such a gift to have these moments in time captured. I know it’s not the same experience as seeing the show live, but that doesn’t mean these filmed recordings can’t be powerful in their own right (here, the tearing up started in “It’s Quiet Uptown” and continued on and off before really bringing it home in “Who Lives, Who Dies, Who Tells Your Story.”) To have that moment captured with this show, with this cast? Forget about it.

I loved revisiting all the little touches in the production design and the stage directions. The way an ensemble member “carries” the bullet from the fateful duel. King George’s costume growing less elaborate every time he comes onstage as he gets more downtrodden. Hercules Mulligan throwing flower petals at the wedding. The way the party scene from “Helpless” is reconstructed and recontextualized in “Satisfied.” Jefferson making it rain with copies of the Reynolds Pamphlet. The ensemble surrounding Hamilton at his desk during the “How do you write like tomorrow won’t arrive?” lines in “Non-Stop.” Burr jumping on the table in “The Room Where It Happened” as an ensemble member pulls off the tablecloth. Seeing it again, I noticed even more, like the Schuyler sisters’ dresses changing in style during the second act to reflect changes in fashion over the years (but keeping the same color scheme!) So much thought went into every moment of this show.

I will say, though, that the camera work here isn’t the best. I know that the actual filming on these filmed recordings can be hit or miss, and on a show like Hamilton with so much going on, it must be difficult to decide when and where to focus the cameras. I couldn’t help comparing this recording to the one of Falsettos, which feels so well-shot (but again, Falsettos only has a cast of seven – a lot more happening onstage in Hamilton.)

And those performances – my god! Miranda’s Hamilton was the only one I hadn’t seen before, since he was out sick the day I saw the original cast on Broadway. He’s more subdued than I expected. That buzzing energy that I associate with both him and the character comes through at points, especially in the cabinet battles, but I was a little surprised not to see more of it. I wonder if this is a good representation of how he played the character, or if it’s more reflective of him nearing the end of his tenure in the role and maybe being a little worn out.

With everyone else, seeing them here brought the memories flooding back. There are no weak links in this chain. Anthony Ramos is earnest and energetic in his dual roles as John Laurens and Philip Hamilton. After getting in a little comic relief as Peggy in Act I, Jasmine Cephas Jones unleashes strong vocals to play Maria Reynolds in Act II. Okieriete Onaodowan wins the prize for best contrast between Acts I and II – Hercules Mulligan is so dynamic and gritty, and Madison is a total cold fish. Jonathan Groff’s King George is such a sassy bitch (and his spit-fueled singing is now preserved for the ages!) Phillipa Soo’s vocals as Eliza are just so pure, and again, she destroys me in the finale. Christopher Jackson’s Washington brings such a stable, grounding presence to the show. Renée Elise Goldsberry is a phenomenal Angelica, and she tears the roof off of “Satisfied.” Leslie Odom Jr.’s vocals are smooth as silk, and I love the way his Burr grows into such a fascinating foil for Hamilton. And Daveed Diggs, as both Lafayette and Jefferson, is an absolute charisma bomb, making the most of every second he’s onstage.

Warnings

Swearing, sexual content, violence, drinking, and thematic elements.