It’s good, but don’t believe all that hype ... Hamilton is no revolution
IT’S the multi-award-winning American hip-hop musical with the most successful run in Broadway history. And last night Hamilton – the story of founding father Alexander Hamilton – officially opened in London’s West End. Here the Daily Mail’s theatre critic gives his verdict.
NOT since the Old English epic poem Beowulf has there been a work of such prolonged, rippling rhythm as ‘Hamilton’. The best reason for catching this over-hyped American musical – for which some touted tickets are reportedly costing £6,000 – is the energy of its hip-hop rap writing.
The musical score is so-so, with harmonies seldom rising above the level of ad-land jingles. The production values and acting are solid, the staging broad if boxy and the choreography taut, with the chorus line a marvel of tight jodhpurs. Rather it is the speed of the vocal delivery, the bullet-fast insistence of the assonance and the technical ability of the main singers in spitting out all those words, that you will remember. Gilbert and Sullivan’s tongue-twisting patter songs have their heir.
Alexander Hamilton (1755-1804) was a leading politician in the creation of the United States. He was George Washington’s top military aide in the fight for independence from Britain and he later helped shape the US constitution.
As the first-ever Secretary to the Treasury he established the banking and credit system required by the emerging federation of states. That aspect of the story has a topical edge given Brexit. Hamilton was also a firm believer in his nation’s sovereignty. Would he have been a Leaver or a Remainer in 21st century Britain? Hard to say.
Jamael Westman cuts a rangy, confident figure as we see blue-tail-coated Hamilton rise from Caribbean immigrant to national founding father. The African-American immigrant aspect to the story was a big part of the show’s promotional pitch in the States. It may not mean quite so much to British audiences. Mr Westman is a convincing hunk for the various women who fall for our hero. Hamilton dabbles with both Angelica Schuyler (Rachel John) and her sister Eliza (a somewhat Sindy Doll turn from Rachelle Ann Go), whom he marries. He later has an affair with a married woman (done with some efficient smouldering by Christine Allado) and that leads to the nascent country’s first political sex scandal.
The rat-a-tat-tat of the rap lyrics makes romantic interludes a little robotic but a touching moment does come when Hamilton and Eliza are reconciled after a family bereavement. I was expecting the tragic potential of Hamilton’s extraordinary life story to be milked for more pathos. Here was a man who overcame various difficulties, including two duelling scenes. Though my 14-year- old daughter had a discreet sniffle my own eyes remained stubbornly dry. This is a musical with surprisingly little schmalz.
CO- PRODUCER Sir Cameron Mackintosh’s Victoria palace Theatre, just done up at vast expense, is a fine venue. It must have the best leg room of any auditorium in London.
Apart from Mr Westman the star of the show is Michael Jibson as a pleasingly puddingish, catty George III. The English king stamps his royal hoof on the floor, saying he is feeling blue at the loss of his colony – and he is immediately swathed in blue light.
This George is cartooned more effectively than Washington, or the irritatingly silly Lafayette and Jefferson (Jason pennycooke plays both). Giles Terera is almost too engaging as Aaron Burr, Hamilton’s friend and later foe.
The best song for me was No One Else Was In The Room When It Happened, which captures the desire of politicians to be present at moments of history.
Was all the mad publicity hoopla justified? Not really. Apart from the lyrics, Hamilton is no revolution. But if you wait until the promotional frenzy has abated and if you lower your expectations to those for a normal West End show, you should enjoy it well enough.