Photo by Joan Marcus

The ultra-popular Hamilton remains docked in Miami through March 24

By AARON KRAUSE

With the state of our country today, maybe we need to go back in time and learn (or re-learn) why our forefathers founded this nation. And there aren’t that many better shows that can help us do that than Hamilton: An American Musical.

So, although the show is making its second stop in Miami in about four years, it’s easy to, once again, welcome Hamilton (the show and the titular character) back with open arms.

As expected, the titular characcter received a hero’s welcome during a performance on Thursday of an equity national touring production of Hamilton: An American Musical in Miami. Indeed, the multi award-winning musical phenomenon, which will turn 10-years-old next February, has accomplished many things. That includes making the titular character a much-loved figure – and a forgotten founding father no longer.

And, so, at the reviewed performance at Miami’s Adrienne Arsht Center, immediately after actor Blaine Alden Krauss announced his character’s name – Alexander Hamilton – the audience enthusiastically applauded.

On the other hand, what’s surprising is that King George (Paul Louis Lessard) also received a hero’s welcome. As he slowly made his way toward the audience from upstage, resplendent in a shimmering royal period costume, the audience laughed and applauded. Perhaps performers’ comic portrayals of this historical character have endeared us to him to the point that he is now less of a villain and more of an antihero. Or maybe he’s just a lovable villain.

Either way, Lessard shines in his role as the monarch, just as Krauss does as the titular founding father. The actors are two members of a talented national equity touring cast that is continuing to perform Hamilton across the country, no doubt bringing joy to Hamilfans all over.

The touring production’s current stop in Miami marks the second time in roughly four years that the production has come to the Magic City.  It remains here through March 24. But if you miss the current Miami engagement, no worries. The production will run at West Palm Beach’s Kravis Center beginning April 10. Also, before and after the Kravis Center stop, the production will play Sarasota’s Van Wezel Performing Arts Hall starting on March 26 and Ft. Myers’ Barbara B. Mann Performing Arts Hall beginning on April 23.

In fact, it is fitting that Hamilton includes Miami among its touring cities. After all, former Kendall resident Alex Lacamoire worked with the show’s creator, Lin-Manuel Miranda, to form the show.  Meanwhile, another local, Manny Schvartzman, serves as the production’s musical director. That means he handles all things related to the show’s music and conducts from the piano.

But even without the local connections, Miami is a metropolis that is full of immigrants. Therefore, applause is hardly surprising following the now famous lyrics, “immigrants, we get the job done.”

Cast members in the national touring company give such phrases (“I am not throwing away my shot” is another) the emphasis they deserve. Certainly, one had no problem hearing them during the reviewed performance. That is because of sound designer Nevin Steinberg’s work, and the fact that the actors sing such words with fervor and strong conviction. They also rap like its second nature to them.

True, it’s challenging for actors to strike the right balance between maintaining the show’s speedy pace and ensuring that audiences not only hear but understand what they are saying. Chances are, you are not going to pick up every word. But even if you don’t, it is easy to become absorbed in this show. That is partly because the performers inject their performances with such vitality that the energy becomes contagious.

Undoubtedly, Hamilton: An American Musical is invigorating. And its color, passion, relatable, indefatigable characters, compelling story and timely themes make it captivating. In addition, Hamilton brings history to vibrant life; it’s never dry. Instead of lecturing, the show tells a very human story.

Still, it doesn’t hurt to read the script, a plot point by plot point synopsis, or listen to a recording before your first time experiencing the show live. If you do, you will be able to follow the story more easily.

For the uninitiated, Hamilton: An American Musical tells the story of the titular character’s life and the founding of America. In addition to the title character, historical figures such as Thomas Jefferson, James Madison, and George Washington populate the musical.

Miranda, who won numerous awards for Hamilton, including the Pulitzer Prize for Drama, relates this tale creatively and boldly. For instance, the multi-talented artist has set his clever lyrics to musical genres anachronistic for the time. They include rap and hip-hop. These musical styles neatly fit these characters’ personalities. After all, just like their newly-formed country, they are “young, scrappy, and hungry.”

As most theater-goers surely know, performers of color play these characters in all Hamilton productions. In real life, they were white.

Casting minorities in these roles connects the ever-changing America of today with the rapidly changing America of the Revolutionary War era. Further, casting these characters as minorities communicates the notion that all people have an equal chance to succeed at changing the course of this country and forging a better life for themselves. And just as our founding fathers broke free from British Imperialism, so can today’s persecuted stand up to their persecutor and attain freedom as well as success.

In fact, Hamilton himself was an immigrant from the Caribbean. True, he experienced a rough life early on. But as the musical shows, with some luck and mettle, he worked his way up to near the top. Specifically, he became Washington’s “Right Hand Man” during early America’s fight for independence. In addition, the title character was one of America’s Founding Fathers and this nation’s first Secretary of the Treasury.

Of course, Hamilton encountered obstacles on the way up. And Miranda dramatizes them in ways that rivet eyes and ears to the stage. Certainly, the rapping, the performers’ near-constant motion, the show’s rapid pace, and the Les Miserables-like solidarity and passion keep audiences rapt.

Certainly, credit must go to director Thomas Kail. He creates enough focus, intrigue, tension, humor, and variety to hold our attention. In addition, Kail highlights the more intimate, pathos-filled scenes so that they have time to truly land and touch us.  And despite tragic moments (Hamilton’s life story, as the show suggests, might bring to mind a Shakespeare tragedy), the show is never depressing.

Meanwhile, choreographer Andy Blankenbuehler has created character-revealing movement. It befits these “young, scrappy, and hungry” people. The often-forceful dancing, which this cast nails, conveys resolve. And it is as much a part of the narrative as the dancing in shows such as West Side Story.

The cast dances, sings, and moves on scenic designer David Korins’ symbolic, seemingly sturdy, and complex two-level set. Certainly, it is movable. After all, the show features 50 songs and about 20,000 words. Therefore, a set that can easily move is a must. Korins eventually settled on an all-purpose setting that might bring to mind a Colonial-era building under construction.

In front of brick walls, a large wooden scaffold bearing coils of hanging rope provides background. In addition, there’s a platform on which the performers can walk above the stage and descend onto it and the turntable.

Korins has said that folks built this country from scaffolding. And the brick wall stands for the nation’s foundation. It’s all put together in the manner that workers would have built a boat in the 18^th century. This represents the fact that the titular character and other immigrants traveled here by ship and the day’s carpenters would have been shipbuilders.

Meanwhile, the turntable reinforces the show’s constant motion. It can symbolize time passing and change occurring. Also, the turntable further increases tension during Jefferson’s and Hamilton’s “Cabinet Battle #2.” The debaters rotate on the turntable, allowing audiences to more fully experience each man’s respective side.

Under Kail’s expert direction, palpable tension exists between Hamilton and Jefferson during such scenes, and between Hamilton and Aaron Burr during others.

Krauss properly imbues the titular character with a fiery passion and a dogged determination. Indeed, Krauss moves quickly and purposely, as though his character is “running out of time’” to leave his mark on the world (legacy is a theme in the show). In addition, Krauss is equally effective at conveying politeness and a softer demeanor during scenes between the title character and his wife, Eliza (a loyal, graceful, and later intense, emotionally-hurt Kendyl Sayuri Yokoyama).

Opposite Hamilton, Deon’te Goodman deftly lends Burr a cool, steely reserve. But when it comes time for Burr to get angry, the actor radiates heat.

Lessard milks King George for every bit of humor he can pull out of the character, making him not only arrogant but a villain who is easy to laugh at.

Carvens Lissaint is quietly authoritative and commanding as George Washington, while Jared Howelton doubles in the roles of Marquis De Lafayette and Thomas Jefferson. As the former character, Howelton lends him a credible earnestness while as Jefferson, the actor convincingly conveys coolness.

Eddie Ortega, who is also double cast, is full of swagger and life as Hercules Mulligan. In addition, the actor imbues James Madison with an air of professionalism and intelligence.

Tyler Fauntleroy breathes conviction and loyalty into John Laurens, while injecting Philip Hamilton (Alexander’s son) with radiant life.

Vanessa Magula (an understudy at the reviewed performance) infuses Angelica Schuyler with fierce passion and devotion to the titular character, who marries Schuyler’s sister, Eliza. Another understudy, Terrance Martin, didn’t look or sound natural in the small role of Samuel Seabury

This production pulsates with unmistakable energy. It emanates not just from the performers, but the lighting instruments. They seem to move and blink while emitting harsh rays of light during intense moments. Contrastingly, for more reflective and darker moments, the lighting is appropriately dimmer. The lighting designer is Howell Binkley, who uses hues such as red wisely. The degree of intensity and color choices deftly enhances mood and creates focus, while illuminating the stage and enlivening the action.

Hamilton is a musical about Revolutionary America, as told by America now. In fact, costume designer Paul Tazewell stresses this in his design. Specifically, the performers look modern from the head up with their hair and makeup. From the neck down, we see visually appealing period costumes from the late 18^th and early 19^th century.

At a little less than a decade old, Hamilton makes learning history fun, while touching on relevant themes such as ambition, honor, legacy, responsibility, and the meaning of democracy. Especially today, these are themes worth exploring and re-exploring.

 The equity national touring production of Hamilton continues in Miami through April 23. In addition, it will run in Sarasota from March 26-April 7, West Palm Beach from April 10-April 21, and Ft. Myers from April 23-May 5. For a complete list of tour stops, ticket prices, and more information, go to https://hamiltonmusical.com. To buy tickets for a performance in Miami, visit www.arshtcenter.org.