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I went into Hamilton blind. All I had was a preconceived notion about musicals and a diehard fan jerking his knee in excitement next to me. As the house lights dimmed, Reynolds Hall erupted into applause as we stepped back into an 18th century history lesson. But wait ... they’re rapping?
Created by Lin-Manuel Miranda, Hamilton debuted in 2015 and quickly became a cultural phenomenon. A decade later, it still lands like a punch and then a shot to the ribs (spoiler). From the first beat, the cast storms the stage with spitfire bars and revolutionary swagger, dragging the Founding Fathers into the present.
The story follows Alexander Hamilton’s meteoric rise, from Caribbean orphan and military officer to becoming the first president’s right-hand man, founder of the national bank and eventually the Treasury Secretary. It could’ve been a flag-waving biography. Instead, it serves as a cautionary tale of how Hamilton’s mouth, ambition and pride paved the path to his tragic demise.
Aaron Burr, ever lurking, plays the primary narrator, rival and final trigger-puller. Their beef simmers over years, ending in a duel that’s equal parts heartbreaking and infuriating. But plot twist: The guy who shot Hamilton was the vice president of the United States. Wild.
Another gripping piece of the musical is its beautifully diverse cast. A Black George Washington? Hell yes. An Asian Eliza Schuyler Hamilton? Absolutely. It’s a clever casting choice, one that intentionally reflects America’s melting pot demographic. It’s history that’s been reframed, revoiced and reclaimed.
]The music doesn’t play it safe, either. Debates become rap battles. Ballads crash into R&B, soul and hip-hop. The lyrics slice through centuries-old politics with the kind of wordplay that would make my AP history teacher perk up. Watching actors rhyme cabinet policy like it’s an episode of Wild ’n Out is one of the weirdest, most thrilling things I’ve ever seen in a theater.
But it was King George III who stole countless laughs during his scenes. He stomped, pouted and fake smiled his way through breakup songs to the colonies with the petty energy of a jilted ex. It’s satire, but it’s also incredibly fun.
The production itself was a masterclass. The staging is minimal but lively, with a rotating floor and lighting that visually transports us to various settings. Costumes nod to history but exude modern energy. The choreography punctuates every word. It's movement with meaning.
But Eliza Schuyler Hamilton carries the real emotional weight of the show. She isn’t just the woman behind the man. She’s the one who outlives him, forgives him and builds the legacy he couldn’t finish. Her final act, preserving his story and devoting her life to social causes, becomes her own quiet revolution. My eyes welled up as Eliza, portrayed by Kendyl Sayuri Yokoyama, poured her heartbreak into “Burn,” pausing to let the crowd absorb the full weight of her anguish before we erupted into fervent applause.
This live performance elevated every lyric to another level, unexpectedly transforming me into a fan who hums show tunes. Hamilton is about war, politics, love and loss. But more than anything, it's a reminder that the people who built this country were flawed, fierce and painfully human. This musical is more than entertainment; it's a reckoning, well worth all the hype it’s received.
HAMILTON Thru June 1, dates & times vary, $79+. Reynolds Hall, thesmithcenter.com.
English (US) ·