Don’t Throw Away Your Shot to See Broadway in Boston’s Spectacular ‘Hamilton’

‘Hamilton’ — Book, music and lyrics by Lin-Manuel Miranda. Inspired by Ron Chernow’s “Alexander Hamilton.” Directed by Thomas Kail. Choreography by Andy Blankenbuehler; Music Supervision and Orchestrations by Alex Lacamoire. Presented by Broadway in Boston at Citizens Opera House, Boston through Nov. 2.

By Shelley A. Sackett

How lucky are we that Lin-Manuel Miranda decided to pack Ron Chernow’s biography, “Alexander Hamilton,” when preparing his bag to take on his first vacation in seven years after the Broadway run of his smash hit, In the Heights. He plowed through the 800+ page book and was mesmerized by Hamilton, particularly his story as a poor immigrant rising to power.

“The moment my brain got a moment’s rest, Hamilton walked into it,” he told Ariana Huffington in an interview.

Had he grabbed any of a number of other bestselling books instead, the world would have been deprived of what remains, after ten years, a singular and thrilling theatrical experience. Broadway in Boston’s production now at Citizens Opera House is as good as it gets, even withstanding a distractingly deficient performance by Hamilton standby, Michael Natt, on the evening I saw it.

The set, by David Korins, is magnificent. Huge, with a drawbridge, walkways, and two stories, it accommodates the large cast and encourages easy transformation from scene to scene. A circular rotating insert is put to good use, and Paul Tazewell’s costumes both complement and add spice. The orchestra (Emmanuel Schvartzman, conductor) is stupendous and Andy Blankenbuehler’s choreography is cheeky, contemporary and delightfully slick. Last, but hardly least, Howell Binkley’s lighting is literally spot-on and hosannas to Nevin Steinberg and his sound design (and the cast’s flawless articulation) that ensure the audience hears every syllable (hardly a given on Boston stages).

The opening number, “Alexander Hamilton,” firmly establishes that the rest of the talented touring cast is not just up to the challenge but will surpass even the highest expectations of excellence. (Ensemble member Miriam Ali is a standout, and not because of her height.)

The storyline is fairly straightforward. It details the life of American Founding Father Alexander Hamilton, from his humble beginnings as a Caribbean orphan to his crucial role in the American Revolution and the formation of the new nation, culminating in his death in a duel with Aaron Burr. Aaron Burr (an outstanding Deon’te Goodman) opens with the line, “How does a bastard, orphan, son of a whore and a Scotsman, dropped in the middle of a forgotten Spot in the Caribbean by Providence, impoverished in squalor Grow up to be a hero and a scholar?” introducing Hamilton as the remarkable immigrant who, through grit, ambition, intelligence and sheer will, rose to positions of power and influence to have an undeniable and lasting effect on this nation’s history.

While the actors may be center stage, it’s Miranda’s breathtaking score that is the true star. Over 30 songs tell the story through hip-hop, jazz, R&B, pop, and good old-fashioned ballads. Their narrative quality and melodic power are timeless, awesome in the truest sense of that now hollowed out and trite adjective.

The show features a diverse cast (Miranda broke new ground in many ways, including casting actors of color to play the roles of the Founding Fathers) and highlights Hamilton’s relationships with figures like the Schuyler sisters (despite being a standby, Amanda Simone Lee was splendid as Angelica and Lauren Mariasoosay shone as Eliza), the Marquis de Lafayette and Thomas Jefferson (both played by an excellent Christian Magby), and, of course, George Washington (a powerful A.D. Weaver).

The crowd favorite, however, is always King George III, whose role may be limited but whose songs are among the best in the show. Matt Bittner doesn’t disappoint, chewing up the role and delighting the audience with each brief appearance.

Even if you’ve seen “Hamilton” before (and especially if you saw it when it played in Boston on its last disappointing tour), do not hesitate to high-tail it to the Citizens Opera House to see this particular version. I daresay, it is as close as we in Boston can get to the New York experience.

Most highly recommended.

For more information, visit bton.broadway.com/shows/hamilton/