A lot has happened in the windy city since September 2017 when Hamilton in Chicago was previewed at CIBC Theatre. From its inception, the must-see musical extravaganza written by actor and playwright Lin-Manuel Miranda based on Ron Chernow’s biography of Alexander Hamilton wowed audiences in the United States and across the Atlantic. The groundbreaking play brought a new flavor to Broadway about American history set in the wee hours of our nation. Miranda’s acknowledgment of the 1917 Broadway musical about Alexander Hamilton’s history conveys the meticulous research done on the life of our Founding Father. He was inspired to write some of the songs for the theatrical play by letters that Hamilton wrote throughout his life, which brought historical accuracy to the spectacle of the blended music genres featured on the stage show.
Heavenly focus on Hip-Hop and R&B. The melodies are embedded in some soul, pop, and show tunes, making the experience a classic in millennial times.
From the opening number, actor Pierre Jean Gonzalez delivers a solid portrayal of Alexander Hamilton as an orphan who embarks on a voyage to New York, leaving his home island in the West Indies in 1776.
The cast exhibits a naturalistic portrayal of the characters assigned to them with the aid of the customs department.
The whole enterprise on stage was engaging, leaving me wanting an extraordinary delivery from the characters. I enjoyed the fusion of the talented performers’ voices, but I also felt deceived by the show’s failure to captivate my constant attention for the two-hour and forty-five-minute runtime (intermission included).
The Hip-Hop lyrics, although inspiring, were very difficult to decode. My seating arrangement was not a contributing factor to my perception of the musical talent of the cast and ensemble.
I must add that I did not watch the movie recorded on Broadway with the original cast that was featured on Disney+ in 2020; for that reason, I do not think that my expectations or excitement for the musical were spoiled. I arrived at the Nederlander Theater in downtown Chicago ready to be amazed by a form of art that I am very much fond of, such as musical theater. After all, Hamilton is the most revered musical of the twenty-first century. I was longing for an abundance of greatness in the execution of the tunes. I appreciated the exuberant voices of Nikisha Williams as Eliza Hamilton and Lencia Kebede as Angelica Schuyler, whose impeccable rendition of “Satisfied” makes me empathize with her storyline and look at Alexander as a brilliant and selfish man.
The auditorium was sold out, and spectators from all walks of life and age groups were represented at the magnificent venue, the former Oriental Theater. I saw them laugh and be mesmerized by the actors (scripted) sharp rapping skills. It was a celebration of art and culture in current times, yet I could not bring myself to place Hamilton as one of my favorite musicals of all time, even though the cast and crew were leaving it all on the stage. I started to self-reflect about the reasons for my bland review of such an acclaimed theatrical piece. After all, I am not an experienced critic or have earned my stripes in the arena yet. Then, when I thought I would leave the venue slightly disappointed for not experiencing a one-of-a-kind artistic melodrama, Neil Haskell bringing King George III to life with fireworks in his voice and a flamboyant sarcastic take on the historical figure he portrayed.
It felt like a reward after listening to six carefully crafted, well-written songs performed by various cast members, including the explicit “My Shot,” the endearing “The Schuyler Sisters,” and the biographical foreshadowing “Alexander Hamilton” that even though were excellent in quality and deliver did not leave me perplex of joy or wonder.
From the moment I heard the first chord progression accompanied by the lyrics “ You say. The price of my love’s not a price you are willing to pay. You cry…” I felt transported by the majestic, taunting tone in which King George commands attention on stage, and it became a personal AHA moment when all made sense to me. Haskell’s enhanced Hamilton, giving a flair of distinction and raw facts deliverance as the result of the marriage between the music and the clever satirical lyrics.
The self-deprecating and temperamental depiction of the British ruler makes it all worthy in my eyes. Exquisite and exuberant, individualistic and vibrant Haskell’s shepherd the patrons enchanting with the amusement of the charmed fulfillment of his role as the monarch whose patriarchal stance on the colonies yearning for freedom could trick the theatergoers if it weren’t for the fact that we all know how history played out and his real intentions.
From that moment on, Hamilton in Chicago became a must-see event, which was ratified when I witnessed the refreshingly comedic take of the political nuances delivered by Jared Howelton as The Marquis of Lafayette and Thomas Jefferson adding King George III musical numbers that earned the fervorous applause of those like me that were in attendance.