Raise a glass to freedom! Today marks four years since 'Hamilton' first made its Broadway debut. Read our theater critic CharlesMcNulty's original review from 2015:
“Hamilton,” which began off-Broadway at the Public Theater and is now happily ensconced at Broadway’s Richard Rodgers Theatre, where tickets are fetching a Russian oligarch’s ransom, is the most important American musical to come along since “Rent.”
Ron Chernow’s book “Alexander Hamilton” was an inspiration for the show, which faithfully follows the outline of Hamilton’s life. But it’s clear from the opening number, in which Miranda conveys with canny concision Hamilton’s early biography, that this is not going to be any high school social studies lesson.
The score, which incorporates R&B and jazz in a sinuous flow that artfully makes use of Broadway songwriting paradigms without Broadway-izing the sound, isn’t the only modernizing force. The casting of multicultural actors in these historical roles accentuates the parallels between the revolutionary aims of the characters and the ongoing struggle to extend this grand democratic project to all people.
I am not what some might call a “show queen.” My home contains no vault of cast albums. I don’t sit and mentally re-create obscure musicals from the privacy of my living room, à la Man in Chair from “The Drowsy Chaperone.
In “Helpless,” Miranda shows that he can deliver romance with the flair of Destiny’s Child, thanks to the heavenly voice of Phillipa Soo’s Eliza. He then immediately complicates the love story with “Satisfied,” in which a fiery Renée Elise Goldsberry as Eliza’s sister Angelica sheds darker light on the partly transactional nature of marriage, with hearts going one way, heads another.
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