Ty Burr, reviewer for the Boston Globe,loved the TV “Hamilton.” I’m happy to learn that it was not “adapted” for the screen. It’s the Broadway show in full, gloriously produced. It was filmed in July 2016, a hopeful time. It was impossible to buy tickets. They were being scalped for hundreds of dollars a seat. Lin-Manuel Miranda set aside multiple free performances for high school students. Ordinary folks couldn’t buy them at any price.
Here is the review:
“Hamilton” arrives on TV — specifically on the Disney+ streaming platform, which costs $6.99 a month — as both a long-awaited event and an almost painful jolt of pre-Trump nostalgia. Lin-Manuel Miranda’s Broadway smash about Alexander Hamilton, one of the men who fashioned a country by the people and for the people, became famously hard for the people to actually see, with sold-out shows and ticket prices running to four figures. What might have been a theatrical release in the time of pandemic comes to the home screen, which, honestly, is where it belongs. As history — as a grounding in and reminder of where this whole thing started — “Hamilton” is facile yet irresistible. As soul-affirming entertainment, it is overwhelming.
(Short answer for anyone left still wondering if this show lives up to the hype: goodness, yes. On the most basic musical-theater level, you’ll have the earworms of songs like “My Shot,” “Helpless,” “Washington on Your Side,” and many others stuck in your head for days.)
The production, a filming of a June 2016 performance at New York’s Richard Rodgers Theatre, has been brought to the screen with intelligence and craft, eight cameras pulling us “into” the show without sacrificing the sense of spectacle. (There are a few choice Busby Berkeley-style shots from overhead, just for fun.) Taking place from 1776 to 1804, “Hamilton” is constantly in motion, with the large cast of characters and ensemble players whirling through Miranda’s songs and Andy Blankenbuehler’s choreography. Thomas Kail directs the filming as fluidly he did the original show but with judiciously edited close-ups that preserve the visual flow while heightening the dramatic conflicts. More than ever, Leslie Odom Jr.‘s Aaron Burr is revealed as the shadow star of “Hamilton,” rendered nearly Shakespearean by his lust for power and inability to stand for anything.
The title character’s story is pretty compelling, too, as readers of Ron Chernow’s 2004 biography know. Born illegitimate in the Caribbean, Hamilton bootstrapped himself into the American Revolution as one of its finest minds and most reckless personalities, and “Hamilton” places him in the context of a scrum of strivers: Odom’s Burr, aching to be in “The Room Where It Happens”; the Marquis de Lafayette (Act 1) and Thomas Jefferson (Act 2), both played by the puckish charmer Daveed Diggs; the godlike yet touchingly human George Washington (Christopher Jackson’s performance acquires a powerful graciousness in close-up); the blissfully tyrannical King George III (Jonathan Groff) with his show-stopping patter songs. Slightly off center-stage are the two Schuyler sisters, Eliza (Phillipa Soo), who married Hamilton and put up with his infidelities, and Angelica (Renee Elise Goldsberry), as politically astute as her brother-in-law and less rash. The dramatic themes and recurring musical motifs that define these characters are part of what makes the show so richly satisfying.
These are all powerhouse singers, actors, and dancers, and they capably negotiate Miranda’s lickety-split lyrics, as percussive as hip-hop and as multi-layered as Sondheim. People who dismiss “Hamilton” as “that rap musical” are always shocked by the actual breadth of the show’s sonic palette, which includes pop, R&B, and a full history of show-tunes. But there’s no denying that having our great white founders played by the descendants of slaves — and having them engage and debate each other in the cross-rhythms of the people they enslaved — is a masterstroke that brings everyone into the tent of the American dream, on stage if not outside the theater. (For anyone having trouble following the rapid-fire lyrics, closed captioning will be a boon of this televised version — but even subtitles might have trouble keeping up.)
At the center of “Hamilton” the musical and “Hamilton” the phenomenon is Miranda, who took the project from a ridiculous light bulb over his head as he was beach-reading the Chernow book to 11 Tonys and a Pulitzer Prize. He’s a compact, sad-eyed imp of a performer, and as Hamilton he seems slightly out of his element among his strapping co-stars, most of whom have stronger or more trained voices. I saw the show on Broadway with Javier Munoz, who was Miranda’s alternate and who replaced the star after he moved on; Munoz gave a galvanizing, muscular performance, and yet the essential Hamilton remains Lin-Manuel Miranda, and seeing this filmed version is a reminder why. Especially in the final scenes, after tragedies of his own and others’ making have brought Hamilton crashing to earth, the actor conveys a sorrow that’s beyond bone-deep — that conveys something about the frailties and follies of trying to be a great man or build a great country.
That’s never not relevant, and perhaps now more than ever. What does “Hamilton” even mean in 2020? The America in which the show took Broadway by storm was five years ago, but it feels like a different century. Barack Obama was president and the recasting of the Founding Fathers as people of color, singing history to modern beats, felt absurdly fresh and forward-looking. What one wouldn’t give to get back to that future.
Tony award winning Leslie Odom, Jr. was almost not part of the Disney production. He was never contacted to join the cast until just before the production was to start. When Disney did give him an offer, it was a low ball offer. He told his agent he wanted pay parity with what Aaron Tveit made to do ‘Grease Live,’ a much larger sum of money. Disney decided to pay Odom what he was asking. In show business people of color and women are often hired for less money than white men unless they demand more for their work.https://www.cnn.com/2020/08/12/entertainment/hamilton-fair-pay/index.html
That is incredibly brave of Leslie Odom, Jr. to stand up for what was right — and it is outrageous that he had to do that in the first place. He should have been paid as the star he was.
I happened to see Hamilton before the hype when the tickets were still easily available at the regular price (which was still expensive, but worth it!). I didn’t know much about it, and Leslie Odom, Jr. was absolutely amazing and his performance was the very best thing about a show that had so many incredible performances. I was rooting for him to win the Tony, which he richly deserved. So I was really looking forward to watching the film performance with the original cast. But I was disappointed that Odom did not seem at his best. He was still very good, but when I saw him on stage he was electrifying and I couldn’t figure out why he wouldn’t be at his best when it was a performance that would be recorded as a permanent record. I actually assumed Odom was feeling slightly under the weather during the 2 days the performances were filmed, but reading this makes me wonder if his having to fight and expend so much energy to simply get what he was rightfully due impacted his performance just a little.
I wish there was a permanent record of Odom at his best — luckily, there are some clips of him performing some of the songs in other venues. He was still great in the film, but even better in his performances.
It was adapted to the screen. The Broadway play contains three f-bombs, but Disney allows no more than two (because apparently children won’t learn to swear only hearing it twice?), so they deleted one.
This play is nearly perfect. The Native American elephant is still in the room, however.
I have watched it 4 times, and have the soundtrack playing all the time. Even my husband, who is not a fan of musicals, thought it was fantastic.
I love that it makes history relevant and meaningful.