Review: HAMILTON – Festival Theatre – Edinburgh

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It’s been 2 years or so since I first experienced HAMILTON at its London home on the Victoria Palace stage. This most modern take on the life of Alexander Hamilton, by no means the most famous of the Founding Fathers of the United States, struck me as a masterpiece then, an opinion only improved by this second encounter with the first UK & Ireland touring production.

It’s clear from Shaq Taylor’s forceful first appearance in the emphatic opening ‘Alexander Hamilton’, that this Alexander Hamilton is no unblemished hero. Taylor emanates a bold, almost arrogant power, a sharp contrast from his smooth-tongued, will-be murderer Aaron Burr (Sam Oladeinde). It’s the latter, with immense charm and a rather sweet tenor who first wins the audience’s smiles in his dual role as the show’s chorus.

However, the thrilling ‘My Shot’ with which creator Lin-Manuel Miranda so cleverly escalates a thrilling opening number into an all-guns-blazing hip-hop spectacular, is a testament to a holistically talented ensemble, tireless rehearsals, and Andy Blankenbuehler’s electrifying choreography. Few, if any, shows tempt a standing ovation quite so immediately as on this song’s final, resounding notes.

What sets this HAMILTON apart is a subtle but potent shifting of sympathies. Alexander remains the musical’s protagonist, but he’s less shiny here, a wunderkind touched with a show-off’s brash sensibilities. Charismatic, oh yes, but no saint, a man whose mistakes are inevitable as they are disappointing. It makes Burr’s slowly growing animosity towards him all the more understandable, even to the point of divided sympathies.

However, there’s far, far more to HAMILTON than an intellectual cockfight between two lawyers with ambitions for high office. In short, the musical traces the rise of Alexander Hamilton, born in 1755, from orphaned immigrant to creator and first Secretary of the Treasury under George Washington (Charles Simmons). Along the way he marries a society heiress, Eliza (Maya Britto), plays a leading role in the American Revolution, betrays his wife, is extorted by his fancy woman’s husband, defends the new Consitution, and develops an unhealthy attitude towards duels at dawn.

That is to say, there’s as much or more drama than found in your typical grand Opera, plus far more percussion, rap battles, and popping/locking inflected choreography.

HAMILTON might revolve around Alexander, but it depends on dialled-in performances from the entire cast. Fortunately, the leads in this touring production are uniformly brilliant. Britto’s emphatic, clear vocals and enthusiastic vulnerability make her a compellingly heroic counterpart to her complicated husband. Aisha Jawando commands attention as her sister, Angelica Schuyler, her voice dynamic, her delivery on fire. Finding a fiery nobility in Washington, Charles Simmons, bathes his second act swansong ‘One Last Time’ with an irresistible, soulful depth, whilst Billy Nevers makes a ribald French revolutionary Lafayette before slipping on Thomas Jefferson’s coat to lay his claim to show MVP. His mischievous, funky ‘What’d I Miss’ second act intro is lush and fun.

However, all productions of HAMILTON subject their talented ensembles to the show-stealing threat of a sardonic King George. His chapter-ending variations on the ultimate earworm ‘You’ll be Back’ have ‘entertained’ many a fellow pedestrian on my weekly walks to the shops, but I bow to Daniel Boys’ tour-de-force. Given liberty to play, Boys hits all the notes while conjuring punchlines from clever phrasing, and a well-timed grimace.

“Britto’s emphatic, clear vocals and enthusiastic vulnerability make her a compellingly heroic counterpart”

Compliments are also due to KM Drew Boateng who brings energetic grit to Hamiton bestie Hercules Mulligan, and curmudgeonly charm to fellow Founding Father James Madison. Oh, and brava indeed to Co-Dance Captains Yesy Garcia and Alice Readie for marshalling the ensemble to a slick, majestic standard fit for any stage.

It’s unusual to spend quite so long singling out performers for praise, and frankly I could go on. There are no weak links, only very, very strong ones. This isn’t a good touring production of HAMILTON, it’s an excellent production full stop.

Rod Lemmond and David Harris’ adaptations of David Korins’ iconic set looks perfectly at home on the massive expanse of the Festival Theatre stage. UK Associate Choreographers Michael Mindlin & Carrie-Anne Ingrouille clearly haven’t struggled to upscale the movement, whilst the band under Zach Flis sounds absolutely gorgeous. The pressure on UK Associate Director Stephen Whitson to preserve, and simultaneously vivify, the original direction must have been immense. He can rest easy knowing that this HAMILTON is a singularly fine addition to the show’s global family of productions.

If all this upbeat praise has you thinking HAMILTON is one big party, think again. When tragedy strikes, it strikes hard, and between bloody revolutionary wars, and Hamilton and co’s inexplicably stupid penchant for duelling, never far away. “It’s Quiet Uptown” sung by, and to, a deeply grieving Alexander in the second act will extract a tear from the stoniest of gazes. You’ve been warned.

Come the curtain call, it was a visibly moved Shaq Taylor who bowed before a standing ovation on press night. He has every right to be proud of helming this historic first UK & Ireland tour of HAMILTON. His is a catalysing presence, inviting the best from his co-performers in response to his rich characterisation and sharp, nuanced delivery. His is the lynch-pin role and one he carries off with aplomb. You won’t always like his Alexander, and you shouldn’t, but you will care.

Well, that’s about enough of my effusive praise. This newest production of HAMILTON is simply superb, and a credit to a musical I consider amongst the best things you will ever see on stage.

Every time you think the show has peaked, it soars higher; every time you think you’ve heard the best song, Miranda lands another triumph. In a world of musicals which engineer a standing clap-along to close: HAMILTON doesn’t need to. The audience, finally given license, can’t get to their feet fast enough.

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HAMILTON will play the Festival Theatre, Edinburgh, until the 27th April 2024. For tickets, and more information, click here.

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