348 days.
That’s how long I had to wait to see this piece of Musical Theatre after actually managing to get tickets on January, 16th, 2017 during a priority booking period.
Although, to be honest, when I first heard of it and listened to some snippets of the songs, I wasn’t convinced at all. A Musical sung in rap? Why would someone do that? I also didn’t get all the fuzz of its “creator”, Lin-Manuel Miranda. But then, thanks to one of my best friends, Sarah from Chesterfield, who sent me the entire Broadway Cast Recording, I gave it another shot (pun intended! 😀 ) – and after about an hour, I was hooked. I listened to the songs on my MP3-Player every day from my way to work and back home, and quickly, it became one of my favourite albums of all time. And when a West End blogger on twitter announced one day that it would transfer to London from Broadway, my mind was quickly made up: I just HAD to see it for myself on stage.
348 days later, there I was, in my seat, excited, but still not actually realizing what I was about to witness in the refurbished Victoria Palace Theatre. And when the lights went off at exactly 7:30pm on Saturday, 30th of January, 2017, the atmosphere changed and captured me instantly. People already started clapping, before the usual announcement of switching phones of and not taking pictures was made by King George, saying it was “strictly prohibited in HIS show”. Then the show finally started and my view on theatre changed forever.
I have never witnessed such a mesmerized and electric audience as I did that night. The moment that Jamael Westman, who plays the eponymous hero, “Alexander Hamilton”, first opened his mouth with his first line, which is just his name, the entire audience erupted into a massive cheering and applause for the first of many, many times, and I instantly knew this would be an evening I’d never forget. After every number, and even in the middle of it (e.g. when Lafayette and Hamilton go “Immigrants, we get the job done!”), everybody in that theatre erupted into a loud cheer and applause that lasted for as long as when the next number had already started. Normally, I would be greatly annoyed by that, but in this case, it made the night even more magical.
The stage itself was made up simple, but beautifully, with a setting that fits it perfectly, and the fact that the people behind the curtains and made-up walls are capable to do so many different things with it is fascinating. I especially loved the circular plate inside the middle of the stage that turns around a couple of time, making whatever scene is played even more effectively and with more meaning than it already does anyway (e.g. the beginning scene of “Satisfied”). There are not many special effects like in other shows, but the few ones that are there are perfectly well-placed, like spotlights lighting up in bright red to indicate gunshots. All in all, it all harmonizes even better than you’d expect it at the beginning of a show’s run somewhere.
And of course – the CAST. Although there are not really any words that’ll do any of them justice, there are a few things about some of them that have to be said:
Jamael Westman – “Alexander Hamilton”
It might have been the role I was most scared about, because, having basically not listened to anything else for months, the voice of Lin-Manuel Miranda has been branded inside my ear and brain so much, it was really hard to think that it wouldn’t be him on that stage now, and that caused me some concern as to whether I’d like it. So basically, it was do or die from the first moment he opens his mouth.
And boy, did he deliver! The thing about Jamael is, he doesn’t play Hamilton the way I imagine (and have seen in some videos) Lin playing it – he plays him less confident at the beginning, like some sort of shy schoolboy, which is, if I’m honest, the only RIGHT way to play him. Hamilton comes to the USA all alone, father gone, mother dead, and has no idea what life has in store for him in this New World. He dips his toes in at first, but then when it comes to “My Shot”, his first bigger part, where his rapping skills are important, he completely steps right into Lin-Manuel Miranda’s shoes and makes this role his own. Jamael does not try to be Lin, instead, he gives it his all, even makes some slight changes in intonation to prove to the audience that he is the rightful Hamilton. And though, of course, at this early stage of the West End show, he’s not perfect yet, he still is damn near perfect. Even his costume and all-over looks basically scream that he has earned this role, and that he deserves it. And from what I have seen that first time, the future has great things in store for Jamael, he’s going to be a star.
Sifiso Mazibuko – “Aaron Burr”
Fun fact: when he stepped on stage as soon as the show began with the song “Alexander Hamilton”, I noticed instantly that he wasn’t the main Burr, but the Standby, but just given his facial expressions, the way he carries himself, for me, he is perfect for that role. He has an amazing presence on stage, and he delivers his lines, all of his scenes, with such an air of authority that you’d expect for someone like Burr, a politician with a lot of influence. And on the other hand, when it comes to him singing “Dear Theodosia” or his famous but fatal duel against Hamilton, the audience gets to see another Burr, another Sifiso – a quieter one, a serious one, who also manages to hit the silent notes with such force as he does with the loud ones. The song “Non-Stop” has been my favourite one of the Broadway Cast Recording, because of the sound of Leslie Odom Jr.’s voice (the US Burr), the way he hits his notes in perfection, and Sifiso Mazibuko did a damn good job and making me love that last scene of Act 1 as much as I love the original song. And aside from the stage, he’s such a gentle, shy and humble man.
Cleve September – “John Laurens”/”Philip Hamilton”
Probably the guy I was most excited about, after being in touch with him on twitter for the past couple of months; and he definitely did fulfill my expectations and exceeded them even more.
First of all – that guy plays TWO main roles, one in Act 1, the other in Act 2, and he does it with so much passion and love for that role, which you see in every moment he does something on stage, even if it is just smiling in the background. He also looks so cute and shy, but when he comes out on stage, he belts his note as if his life depended on it, and boy, does he have a voice inside this tiny body! I also don’t know whether I should be more impressed or scared as to how versatile it is, as both of his roles are completely different from each other – one a man in war, the other a boy, wanting to be like his father. Needless to say, the rap music going on in this show was made for him, he’s in his element, and he draws the audience in the moment he sets foot on stage – and together with Tarinn Callender (“Hercules Mulligan”/James Madison”), they are the perfect match. They are dorky, they are bossy, they are MEN in their prime, and you can’t help but ride along on their wave of “easy-going-ness”. Oh, and off stage? Cutest and loveliest guy ever. He knows where he comes from, and he never takes for granted what he has achieved so far, but works hard to keep doing what he loves. A real inspiration.
Rachelle Ann Go – “Eliza Hamilton”
I knew Rachelle from a supporting role in “Miss Saigon” two years earlier, so I was excited to see her in the lead this time. Although she was the only one who did not draw me in a 100%, she sure as hell has an amazing voice that sounds near perfect, and I am sure that if “Hamilton” was an opera, she could also pull her part off as easily. Through the entire show, she has some sort of cold air around her, but whenever she was on stage with Jamael Westman, she turned into that small girl that is head over heels for this man and can’t believe she’s lucky enough to have him. Until, that is, her heart is being broken, and she turns into a betrayed wife, bitter with disappointment and loss. Despite its silent music, the way she delivers “Burn” in Act 2 is powerful, and Rachelle makes one feel as if it was you who’s in her situation. And over all of this, she still wears Eliza Hamilton as if she’s above everything; that no matter what is being thrown at her, she accepts it with pride and dignity.
Rachel John – “Angelica Schuyler”
That woman…WOW. I’ve now known her for over 5 years, or rather, her talent, and she still outdoes everything I’ve seen from her. Her Angelica Schuyler is so much different from her “Meat” in “We Will Rock You” a couple of years ago, but in a damn good way. The moment during “Schuyler Sisters” she first opened her mouth, I knew this was going to be good, and then “Satisfied” happened. It is one of my favourite songs on the album, but Rachel exceeded any expectations I had when I heard she would be playing that role, and I might even go so far as to say she is the one I like better than Renée Elise Goldsberry, who originated the role on Broadway, because she has so much more power and strength in her voice, and she also has such a confidence within her that is astounding. And her rap-part during “Satisfied” – I bow down. Rapping isn’t easy at the best of times, but in that tempo and style, Rachel is mindblowing. And right now, I don’t even know if there is anything that woman can’t do?
Michael Jibson – “King George”
Maybe the biggest shoes to fill in from Jonathan Groff, who originally played that role on Broadway, and maybe the one that the audience I sat in that evening loved the most. The moment his first tune, “You’ll Be Back”, came on, the audience erupted into applause and cheering, and rightly so. It’s fun to see how Michael “evolves” in his role during his three Solos, from a tight-up King who barely moves on stage, just screams at the audience and threatens them (all part of the role, obviously), into someone who, at the end of “I Know Him”, sits there, tapping his feet, grinning like a schoolboy on Christmas. Michael definitely had everybody in the room in the palm of his hands, and although, because he’s not American, he maybe can’t play a british King with VERY exaggerated mockery, the way Groff did on Broadway, Michael still manages to have the audience in tears of laughter with just his facial expressions or gestures. And maybe because of that exact reason, he understands better which way of mocking works best with a british audience, and his timing was flawless in every aspect. You know, when you hate and love a role at the same time, that the person playing it is a damn good actor, so hat’s off, Mr. Jibson.
Jason Pennycooke – “Marquis de Lafayette”/”Thomas Jefferson”
Next to Cleve September and Tarinn Callender, the 3rd person with 2 main roles in both Acts, and he might be my highlight of the show.
First of all, his Lafayette – what a hilarious and perfectly mocking french accent! I don’t like neither the french language nor french people (I experienced them to be arrogant at the most of times), so it was delightful to watch Jason on stage being in that role. He not only has the acting skills for it, but also an entire repertoire of facial expressions to prove it. More than once, the audience almost screamed with laughter, especially during his solo, “What’d I Miss” at the beginning of Act 2, where he’s playing Jefferson – definitely one of my favourite scenes of the entire show, where he not only proves he can sing, but also dance like a young God! What is also impressing is that although most scenes in Act 2 are difficult and serious, Jason always manages to lighten up the mood in the audience, with tiny gestures or facial expressions, without making fun of the importance of a scene. You know he’s not Hamilton’s best friend at some point, but you can’t help but love him for the person behind the role, who, off stage, is such a lovely person who appreciates each and everyone of the people who come to see him…I mean….look at that face!
Obioma Ugoala – “George Washington”
Maybe the one role I did not actually know what to expect from, and one of which I was most impressed by. When Obioma came on stage, he WAS George Washington, even if I obviously didn’t know the guy personally. He carried with him such an air of sheer force and confidence on the verge of arrogance, just the way you think a leader should behave. And his voice…wow. It has an amazing power in it, and in “Guns And Ships”, it seems like he sings as if his life depends on it, which is fitting for the situation his character is in during that song. It sure isn’t easy to step in the shoes of Christopher Jackson, the Broadway Washington, but, just like Jamael Westman did with Hamilton, Obioma Ugoala made this role HIS role. He basically sets foot on stage, shouting “Here I am! I am the only President Washington that will now matter to you!” and you’re captured by his presence from beginning to end. “One Last Time” had a special place in my heart for a very long time now, and when the song finally came on, I couldn’t wait to hear the end of it, where Washington sings high and long notes…and I can only say my expectations were truly more than fulfilled, I might’ve even had some tears in the corners of my eyes. Obioma did that certain song more than justice.
So, all in all, what was “Hamilton” to me? Did it fulfill my expectations? Was it worth the wait? Was it worth its money?
Hell yes, it was, and so much more. I sat there, silently sang through every single song, with every single word, which, mostly, I know by heart now. I have never felt so electrified during a theatre performance since “Carrie” at the Southwark Playhouse in May 2015. I have never felt like I wanted to talk about what it was like with someone, but not finding any words to say. And this time, it was not even the songs, which are a huge part of a Musical, no. This time, it was the entire Cast who outdid themselves, and the atmosphere inside the audience that carried one along with it, like it or not. I have never experienced such a breathtaking audience in my life, and boy, did I like it. And I hope I get to go back for a 2nd time this summer.
“Hamilton – An American Musical” has well and truly arrived in the Londoner West End.
Chapeau.
You Only Live Once. 