Hamilton, UK Tour Review
Shaq Taylor as Alexander Hamilton in UK tour of Hamilton. Photo by Danny KaanWritten by Jacqueline for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review.
Since Hamilton's world premiere in 2015, the show has truly solidified its position as possibly the most iconic musical of the 21st century. Following the life of America’s ‘ten dollar founding father’, the show covers events from around 100 years of US history. Following ongoing international success; numerous Tony and Olivier awards; and the digital release of the original Broadway production, the show has finally embarked on its first UK tour. With years of momentum behind it, is the show able to meet the sky-high expectations of audiences in 2024?
There is little I can say about Lin-Manuel Miranda’s lyrics and score that hasn’t already been covered by the countless critical reviews to come before mine. Despite it being nearly a decade since the show’s Broadway debut, the quick lyricism and seamless amalgamation of musical genres and styles continue to reach highs that no show since then has managed to accomplish. On Spotify alone, the Hamilton cast album has over five billion streams, making it the most listened-to cast album on the platform by a wide margin. Miranda’s score does well to balance the quick-paced rap numbers with the slower moments of reflection, allowing the audience a moment to catch their breath before progressing to the next big plot point. Furthermore, the juxtaposition of genres truly highlights Miranda's genius songwriting as each character has their own unique sound. This score truly has something for everyone.
Though many shows find themselves having to reduce their staging to adapt for a touring production, David Korin’s stunning set design is being replicated in full for this tour. This is accentuated by Howell Binkley's lighting design which I particularly enjoyed viewing the show from the dress circle, as I was able to see things that people in stalls seating may have missed. Paul Tazewell’s intricate costume designs are beautiful- from the ensemble’s ‘storyteller’ costumes, to the more elaborate dresses and suits worn by our main characters. Any differences to the show’s design made for the tour are imperceptible, ensuring that audiences truly feel that they are getting the full Broadway or West End experience in the heart of Edinburgh.
This cast are a joy to watch, bringing an electricity to their performance that is unlike anything I have seen for a long time. Shaq Taylor has an infectious energy as the brash and impulsive Alexander Hamilton. He performs the score effortlessly, as well as bringing a unique spin to the role with many of his light-hearted mannerisms and subtle interactions with other characters. By the end of ‘My Shot’, Taylor had the audience hanging onto his every word. Sam Oladeinde’s Aaron Burr is a force to be reckoned with ‘The Room Where It Happens’ receiving the most rapturous applause of the night by far. Maya Britto is stunning as Eliza Hamilton. She beautifully develops the character from a lovestruck young woman to a mother facing the worst heartbreak imaginable. Her rendition of ‘Burn’ was gut-wrenching, and I doubt there was a dry eye in the house after ‘Stay Alive’. DeAngelo Jones (John Laurens/ Philip Hamilton; Billy Nevers (Marquis de Lafayette/ Thomas Jefferson); KM Drew Boateng (Hercules Mulligan/ James Madison); and Gabriela Benedetti (Peggy Schuyler/ Maria Reynolds) take on a different role in each act, portraying these pairs of characters so well that at points it is easy to forget that you're watching the same person. Aisha Jawando is a powerful portrayal of Angelica Schuyler, a loving older sister who will do anything for her family. Charlie Simmons is a commanding presence as George Washington, but also brings a gentleness to the role- in particular during his resignation scene, ‘One Last Time’. Finally, Daniel Boys brings impeccable comedic timing as King George III and delivered a lot of deadpan humour, alongside his light-hearted and silly moments.
The only flaw of this production is that on occasion the diction of Miranda’s lyrics is lost. Given how rapidly the plot progresses and how much content is covered in the show (with one performer in the show speaking over six words in a single second during an act one number), enunciation is key. Audience members without prior knowledge of the plot or music may find themselves bogged down by simply trying to follow what is happening at certain moments.
Overall, this production has injected a new lease of life into the UK touring scene. The buzz around Scotland since this two-month run was first announced has grown exponentially, and it’s glorious to have a show bringing so many new faces to the theatre. It feels as though everybody in the country is desperate to be in The Room Where it Happens- and rightly so.
Hamilton is playing at Edinburgh’s Festival Theatre until Saturday April 27th 2024.
☆ ☆ ☆ ☆ .5
