SALT LAKE CITY, Utah, Aug. 9, 2024 (Gephardt Daily) — Playwright Lin-Manuel Miranda once said of his 2015 musical “Hamilton” that it’s “America then, as told by America now.”
The “Hamilton” Broadway touring production plays through Sept. 1 at the Eccles Theater, brought in by Zions Bank Broadway at the Eccles. Find theater and ticket information here.
The musical is about upstart founding father Alexander Hamilton, and follows him from college to his death in 1804. It features 34 musical numbers in styles including hip hop, R&B, jazz, and pop, all unknown in Hamilton’s time.
But the music is only one thing that makes “Hamilton” relevant to modern audiences. There’s also the theme of doing all you can to improve your community in the time and place where you live, sure to resonate with many modern audience members.
“Hamilton” actor Blaine Alden Krauss, in the title role, sings in the second number about “My Shot,” pledging “I’m just like my country; I’m young, scrappy and hungry; And I’m not throwin’ away my shot.”
The show is passionate and masterful, and manages to make the history we learned from dry high school textbooks dance to life.
And the dance is intriguing, combining energetic, synchronized moves with unexpected body angles and moments of motionlessness. The dancers are in costumes, designed by Paul Tazewell, that, with an extra jacket, hat or camisole, can work for ensemble members playing barmaids, soldiers or bystanders.
The set, designed by David Korins, is just as versatile. With lighting by Howell Binkley, the space transforms from a ballroom to a city street, to a private household, a drinking establishment, a battleground, and a site for fateful duels.
Krauss is extraordinary as Hamilton, who is committed to his beliefs, imperfect and impulsive in his actions, and maybe a little free with his opinions.
Sharing none of those traits is Aaron Burr, played by Deon’te Goodman, who holds his cards close to his vest, and tries to get along with anyone who may be of future helpfulness in his political career. Goodman also captures Burr’s ultimate sense of regret.
Both men have exceptional singing voices, and the physicality to depict their characters strong but differing personalities.
Kendi Sayuri Yokoyama, as Hamilton’s wife, Eliza, captured her character’s vulnerability, her sweet and loving nature, her utter heartbreak and her ultimate strength. Her singing voice is pure and delicate, but strong.
She was elegant in her satin-look gown, as were all the main characters in their more ornate, period-inspired costumes.
As in all productions, I hear, King George III is a serious scene stealer. The King, played by understudy Alex Nicholson on the night reviewed, was the perfect combination of spoiled, bratty, petulant, eye rolling and ridiculous. His feeble attempt to put his foot down, literally, is hysterical.
There’s not a weak character in this show, or a weak actor. George Washington (actor Kameron Richardson), Thomas Jefferson/Marquis de Lafayette (Simon Longnight), Angelica Schuyler (Lencia Kebede), John Laurens/Philip Hamilton (Lucas Hinds Babcock) and others played their roles well, and their characters added depth and perspective to the story.
If your theater budget is limited, as it is for most of us, “Hamilton” is an excellent investment. It’s not a light night out. It’s 2 hours 45 minutes, with intermission, and will not hold the attention of young children. It’s for people willing to think some deep thoughts, question the characters of various founding fathers, and maybe even think about what a modern person — maybe someone scrappy and hungry, who cares about the world around them — might want to shoot for in the here and now.
