Michael Cox reviews the ground-breaking musical, currently in Glasgow.
Hamilton is a phenomenon: perhaps the biggest theatrical phenomena of this century. Highly acclaimed when it premiered over ten years ago in America and still one of the premium tickets to seek whenever one is in London or Broadway, the musical is a happy fusion between classic musical theatre and modern pop music.
Perhaps that’s writer Lin-Manuel Miranda’s real secret weapon: he’s a modernist who has an understanding and respect for the past. Musically, the production might use motifs from hip-hop and rap, but structurally the show has the same wit and insight that Hammerstein and Sondheim would have connected with at the height of their own powers.
For those who don’t know, the musical is a look at the founding of the United States not necessarily through one of its key figures but through an outsider who is reflecting on why he’s never in ‘The Room Where It Happens’.
That individual is Aaron Burr—arguably one of America’s most controversial figures. Burr is presented here more as witness—never holding significance in events but desperately wanting to matter. The fact he knows those who are in prime positions of influence makes his desire all the more desperate.
Alexander Hamilton embodies all that Burr craves. They begin as friends: Burr as a young, wealthy privileged man with connections, Hamilton as an upstart immigrant with only his wit and fiery temperament to his name. Burr advises Hamilton to play the game: talk less, smile more and be liked. Hamilton goes the other way and quickly rises, soon proving himself to be one of the key figures in the war for independence followed by the shaping of a new country. It ends in tragedy with one of American history’s most controversial moments: the infamous duel between Hamilton and Burr.
If there’s a miracle with the production, it is that it still manages to surpass all expectations. Brilliantly staged by Thomas Kail, Hamilton is a whirlwind of theatricality that never relents in its frantic pacing. At times hilarious and other times heartbreaking, the production is an emotional roller coaster. It’s easy to be swept up by the plot while admiring the intelligence of its lyrics—many of which race past quickly due to the rhythm of hip-hop.
In this UK tour, the leads are all played brilliantly. Marley Fenton is a terrific Hamilton: cheeky yet bursting with energy and a wonderful sense of musicality. Billy Nevers’ Aaron Burr is a bit more on the quiet side than other versions of the role in the past—it’s a brave choice that adds substance to why Burr is usually disregarded. However, Nevers has a few moments where he must command the stage, and in these sections he more than delivers, particularly within the seminal songs ‘Wait For It’ and ‘The Room Where It Happens’.
As for the rest of the key characters, each are handled wonderfully. Particularly standing out are Akmed Junior Khemalai’s commanding George Washington, Louis Maskell’s hilarious King George and Chasity Crisp’s heartfelt take on Angelica Schuyler—Hamilton’s sister-in-law. Ashley J. Daniels has a lot of fun as Lafayette in the first act but comes into his own in the second half when he becomes Thomas Jefferson. As for the key role of Eliza, Sydney Spencer (usually a member of the ensemble but filling in during the press performance) was wonderful, bringing heart and passion to the production. Her song ‘Burn’—usually a highlight in the performance—was an utter standout.
It’s easy for anything with such high acclaim to fall short of expectation when finally seen. It’s been eight years between Hamilton’s London opening and its premiere in Glasgow—but it has been more than worth the wait. While it’s true that the recording of the original company is readily available on Disney+, Hamilton is a production that needs to be experienced live. It is a testament to this touring company that they present a performance that isn’t just an imitation of the London and New York companies but is in and of itself an excellent production executed with great skill. It really should be experienced in person.
Hamilton performs at the Theatre Royal in Glasgow until December 27, 2025. It is the final scheduled stop of this current UK tour. For further details, go to the production company’s website.
Photos by Danny Kaan.
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