Theatrius
  • Now Playing
  • All Reviews
  • Writers
  • Reflections
  • Millennial Notes
  • Join Us
  • About Us
  • Search Icon

Theatrius

Theater Reviews—San Francisco and Beyond

“Hamilton” Brings Out the Best in US—at BroadwaySF

“Hamilton” Brings Out the Best in US—at BroadwaySF

August 28, 2021 Evelyn Arevalo

Millennial Notes

Lin-Manuel Miranda Revives Revolution in Living Color

by Evelyn Arevalo

The touring company of “Hamilton” in San Francisco boasts an exciting diversity of singers and dancers. Much like the Bay Area, the cast is multi-cultural and phenomenal—like Lin-Manuel Miranda’s musical, itself.

Miranda’s ground-breaking show about the American Revolution—in rap, jazz, and ballad–has revolutionized the American musical. Until now, there has never been a show like it, casting black and brown actors as Founding Fathers and Mothers. “Hamilton” gives people of color a chance to see themselves as basic to America, no longer left out.

Because the U.S. was built on the blood, sweat, and tears of colored bodies, Miranda puts us all back into the narrative.

The show breaks tradition by casting brilliant actors of color as George Washington, Alexander Hamilton, Aaron Burr, and the Schuyler sisters. Their songs and dances range from street style to hip hop and jazz hands.

The Schuyler sisters. Photo: Joan Marcus

For me, “Hamilton” reinterprets U.S. history in a modern style—truly a show for the people. Powerful romance, drama, and rivalry exhilarate and inspire long after the curtain calls.

At the tender age of sixteen, smart, scrappy Alexander Hamilton (forthright Julius Thomas III) emigrates from the Caribbean to New York City. Teen-aged orphan Alexander dreams of being a soldier in the coming Revolution.

When he meets his lifetime ‘frenemy’ Aaron Burr (mesmerizing Donald Webber, Jr.), Hamilton confronts his complete opposite. Burr is careful and practical; and he is shocked by Hamilton’s contrasting honesty and frankness. They present conflicting visions of America, revealing a basic split between caution and daring.

Donald Webber, Jr. (Aaron Burr). Photo: Joan Marcus

When Webber, as Burr, sings “Wait for It,” we sympathize with the man who lives under Hamilton’s shadow. Webber helps us identify with Burr, rapping, “I am not falling behind or running late / I’m not standing still,” as he tries to justify his “wait and see” stance.

“Wait for It” offers insights into the tempest locked behind Burr’s smile. We can understand Burr’s major FOMO (fear of missing out) vibe.

They even compete for the enchanting Schuyler sisters. Angelica (noble Marja Harmon) brings me to tears with her solo “Satisfied,” a touching tribute to her sister Eliza (impressive Victoria Ann Scovens). Women inspire and direct in Miranda’s world, too.

Darnell Abraham (George Washington)

When powerful Darnell Abraham strides on as George Washington—with a strong baritone and perfect poise, he occupies the stage, magnificently. The vision of a Black Washington makes us think about his contradictions on slavery, as well as his singular vision for America.

As many Hamilton-lovers will testify, the soundtrack alone leaves us breathless. I’ve been listening to it on an endless loop while jogging and studying for years now. But to see it live with wonderfully diverse artists hits new heights.

Draped in a lavish red and white robe, King George (hilarious Rick Negron) becomes a parody of British imperialism.  Drunk on power, the King is obsessed with controlling his colonial subjects.

When King George bitterly sings,“You’ll be Back,” I was equally laughing and fearful. With lines like “I will kill your friends and family / To remind you of my love,” the impotent King bellows out his twisted confession of “love” for the Americans.

Here’s a musical that can preserve and transform and inspire—Welcome to the New American Revolution.

Julius Thomas III (Hamilton) &  Ensemble. Photo by Joan Marcus

“Hamilton” –book, music, and lyrics by Lin-Manuel Miranda, inspired by the biography Alexander Hamilton by Ron Chernow, directed by Thomas Kail, music supervision and orchestrations by Alex Lacamoire, choreography by Andy Blankenbuehler, at The Orpheum Theatre, San Francisco. Info: BroadwaySF – to Sept 5, 2021.

Cast: Julius Thomas III, Marja Harmon, Donald Webber, Jr., Victoria Ann Scovens, Ashley De La Rosa, Paris Nix, Rick Negron, Darnell Abraham, Brandon Louis Armstrong, and Andy Tofa.

Banner photo: Julius Thomas III (Hamilton) & Ensemble


Millennial Notes, Musical, Plays
Capitalism, Civil Rights, Colonialism, Dance, Family, friendship, Identity, Immigrants, Imperialism, justice, love, marriage, Musical, New York, politics, power, race, revolution, Romance, Satire, sex, social class, War, wit, Women's Rights

Post navigation

NEXT
“Aren’t You …?” Unveils the Secrets of California Missions—Streaming Palo Alto
PREVIOUS
“What’s in a Name”: Music & Storytelling Transform a Life—Streaming TheatreFirst
Comments are closed.

Menu

  • Now Playing
  • All Reviews
  • Writers
  • Reflections
  • Millennial Notes
  • Join Us
  • About Us

BLM

Black Lives Matter

Subscribe for upcoming reviews!
Loading

Current Shows

  • “Yerma” Lays Waste to Idealized Visions of Family Life—at Shotgun
  • “The Tempest” Shines at Revitalized John Hinkel Park—by Inferno
  • “Let the Right One In”: Shocking Story of Vampires in Our Lives—at Berkeley Rep
  • “I’ll Eat You Last” Serves Up Power, Fame, Obsession—at Spindrift 
  • “Chinglish” Mingles Language & Politics in Brilliant Comedy—at SF Playhouse
  • “Exhaustion Arroyo”: A Trip from Pizza Slavery to Redwood Heaven—at Cutting Ball
  • “The N— Lovers” Calls Out White Myths with Great Comedy—at The Magic
  • “shadow/land” Celebrates Joy in the Face of Disaster—at The Public, N.Y.
  • “Where Did We Sit on the Bus?” Rolls to a Stop—at MTC
  • “The Producers” Soars with Spectacular Satire & Song–at Hillbarn
  • “Boeing Boeing” Flies Us into Deception & Folly—at Benicia
  • “Cyrano”: A Beautiful Romance for the Ages—at Aurora
  • “Poor Yella Rednecks” Sprinkles Slang & Spice in Viet Struggle –at ACT
  • “To Master the Art” Blends French Food, U.S. Politics, & Love—at CCCT
  • “Giraffes Can’t Dance” Highlights Power of Perseverance—at BACT

About us:

If you want to see the best plays & performances around the San Francisco Bay or beyond, read our reviews. We promise to give you a true report on the best shows.
Bay Area Critics Circle

Barry David Horwitz, Editor of Theatrius, is a Voting Member of the San Francisco Bay Area Theatre Critics' Circle, SFBATCC. Follow us on: facebook.com

© 2023   All Rights Reserved.