Hamilton, Michael Cassel et al, Her Majesty's Theatre, Melbourne til 15 Jan 2023, Brisbane from 27 Jan 2023, Aukland in May 2023.

 

... so sometimes I see shows late in their run. Sometimes VERY late in their run. And of course this is not my first meeting with this show - I've been listening to highlights of the cast album since it came out, I've seen the Disney+ presentation and I've even got a copy of the Hamilton mixtape covers-and-extras album. This is undoubtedly an important show that's brought a younger audience into the theatre, telling a tale of the American Revolution and what came after in a bold contemporary style. And like most incredibly contempoary shows (Hair, Rent), some of that contempoary sheen starts to tarnish a little after a few years. This is, however, a show with great central bones - the simple structure (borrowed from "Jesus Christ superstar" and "Evita") of making the antagonist both narrator and co-lead gives the narrative that covers some 30 years of history focus and a central drive. There are undobutedly flaws - it's undoubtedly history told from a very New York perspective, and despite some attempts at striking some gender balance, it's still largely the men's show. And it undoubtedly ellides some of the history it's telling in the interest of keeping the show under 3 hours. But that history it does tell is illuminated boldly and strongly. 

The local production rises above being a mere reproduction of an overseas model largely on the back of Jason Arrow, the striking lead. After a year and a half in the role you'd expect some ebbing of energy but he's electric in the role - conveying both the youth of the upstart attempting to ingratiate himself at the beginning of the show, and the slow maturing as politics and personal mistakes in the second act chip away at him. He's a compelling lead and watchable in every moment. Elsewhere Lyndon Watts delivers a slow-burn performance-  starting out smug and cynical at the sidelines, the urge to be at the centre of things excercies a stronger and stronger pull on him until the invitable final confrontation; Martha Berhane is a warm presence as Eliza, seeing us through even the worst of moments in her relationship with Alexander; Akina Edmonds is electrifying when allowed to cut loose as Angelica (one of the flaws of the show is that Angelica seems so very central in her first two showcase numbers, then largely slips into the background for the rest of it); Iosefa Laga'aia gives centralising calm as Washington, Victory Ndukwe lights up the stage in double roles as Lafayette and Jefferson, and Rowan Witt is suitably impish as King George.

Thomas Kail directs a visceral, fast moving production which manages the shifts of location and time clearly and appealingly. There's great support from Andy Blankenbueller's choreography giving the ensemble clear involvement in much of the action, and Howell Binklely's gorgeous lighting design pinpointing areas of the stage with precision and care. Also David Kopin's set, half colonial builidng, half run-down rap club, proves ever adaptable to wherever it needs the cast to be at any one second (including a highly active double-revolve). 

In short, yes, this really does still live up to 7 years of hype. If you happen to be anywhere near where this production is playing, you should definately be there.