Until Lin-Manuel Miranda got his hands on a copy of the eponymous Ron Chernow biography, Alexander Hamilton was essentially an unsung hero among America’s founding fathers. But through Miranda’s hip-hop and pop infused translation of American History, he created a cultural phenomenon with Hamilton.
The national tour of the Broadway smash returned to St. Louis last week for a month-long engagement at The Fox Theatre. It runs through May 15.
Hamilton’s entire life story rivals a Shakespearian tragedy. And through the musical, Miranda uses Hamilton’s role in the fight for independence to illustrate the promise of America. Miranda also displays the price that was paid for that promise – the emotional toll, ethical contradictions and tragic consequences are presented as par for the course among those leading the charge of a country’s liberty.
His interpretation of Hamilton’s life as it relates to America’s origins as an independent nation is simply stunning. And the most recent St. Louis leg of the tour is on brand with the original production. The local run showcased just how powerful Hamilton can be in the hands of a talented cast who can engineer a musical experience which holds its own against the well-known production that featured performers who have since gone on to become household names.
Hamilton is so engaging that the bits of revisionist history and moral grace afforded to the least deserving of the founding fathers are quickly forgiven. The production reinforces the scope of hip-hop by applying the art form to an 18th century struggle for national independence. And like with the best of the genre, this remix of American history manages to resonate deeply with everyone who experiences it – from Baby Boomer to Gen Z. Those who grew up with hip-hop will see the parallels between the rise of the genre and the rise of our nation. They will instantly align themselves with the ambitious group of young people with their own swagger and value system that drives them to build something that changes the world. And both America and its cultural contribution of hip-hop ascend to – and maintain – the status of global superpower.
Hamilton would be an easy show for an ensemble to ditch the heavy lift of administering a unique experience and strictly adhere to the blueprint provided by the Grammy and Tony Award-winning original cast.
That’s how things seemed to start – at least with the singing portions of the show early on in act one. These moments lead one to instantly commit the unfair act of comparing the voices and nuances with the original cast recording and film presentation of the Broadway production that streamed via Disney+. But as the ensemble settles into the performance, they lean into letting their own embodiments of the roles shine through – and the production is all the better for it.
The blend of the harmonies on “The Schuyler Sisters” seemed so keen on matching the original production that it forsakes the vocal strengths and charisma of the trio of singers at hand. But for their solo and leading numbers, each of the voices shined – particularly the higher register of Stephanie Jae Park in her portrayal of Eliza Hamilton.
And much of Jared Dixon’s performance of the widely recognized selection “Wait For It” is lost on him trying to match the tone and pitch of Leslie Odom Jr.’s Tony Award-winning performance of Aaron Burr. But just about when the song is written off as an attempted carbon copy, he flexes his vocal ability with a powerful run that sets up for a brilliantly executed finale. The pivot into his own personal touches left audiences leaning forward in their seats and thrillingly anticipating what he would do with his next vocal flex – which he did not at all disappoint with the “Dear Theodosia” duet, and every subsequent musical number.
Pierre Jean Gonzalez is strong in the production’s title role – and paired perfectly with Park. But what adds to the wow factor of this production is the strength of the supporting ensemble and how each manages to leave an impression, no matter how small the role. This is especially true of Neil Haskell’s portrayal of King George.
But the MVP for making the most of his moments on stage goes to Warren Egypt Franklin and his dual performance of Marquis De Lafayette and Thomas Jefferson. He plays both roles so differently that it is easy to forget that the same person is performing in each respective act. And the flare he brings as Jefferson – including the repeated whips of his silly wig – seems to shift the energy of the entire cast as they work to make sure he doesn’t steal the entire spotlight. This is most evident in the “Cabinet Battle” raps between Franklin and Gonzalez. Conroe Brooks gives similar energy when he assumes the role of the ailing James Madison in the second act.
While most of the signature songs – including the title song, “My Shot,” “Satisfied,” “Wait For It,” and “Dear Theodosia” – reside within the first act, the second act delivers the bigger punch between the two. It’s probably a bit cliché – and unoriginal – but the most fitting consensus can be found on the list of songs within the production. Hamilton managed to “blow us all away.”
The Fox Theatre’s presentation of Hamilton continues through May 15. For tickets and/or additional information, visit www.fabulousfox.com.
