Hamilton is a masterpiece of drama and music brought to life in theatre. It has a Shakespearean scope of history, psychology and the mystical realm of the Gods.
It covers a specific period encompassing the American Revolution of 1776. It is also timeless with its insights and commentary on the human condition. The parallels with current times are myriad.
Alexander Hamilton was born in the small British-Caribbean Island of Nevis in 1757. Out of wedlock and soon orphaned. From an extremely disadvantaged upbringing, he rose to be the unlikeliest of America’s Founding Fathers. George Washington’s number two in the Revolutionary War and when he became the first President.
Hamilton was the first Secretary of the Treasury (number two’s often hold the most power), and he was laid to rest in a duel with Vice-President Aaron Burr.
But what happens in between? / Yeah, what else happens? The Adventures of Grandmaster Flash on the Wheels of Steel.
A book of his life by historian Ron Chernow led playwright, songwriter, filmmaker and actor Lin-Manuel Miranda to devise this musical. Starting as rap hip-hop album idea in 2008, it took seven more years to reach fruition. Miranda played Hamilton in the original productions from 2015.
The show won a Pulitzer Prize for Drama in 2016.
The Spark Arena is transformed into a massive Globe Theatre as we walk in for the premiere evening.
The stage is designed as a large tavern with balcony. Large wooden beams and staircases, festooned with thick ropes. Two large screens on either side provide cinema-style close-up shots.
A dramatic entrance with all performers in stunning period costumes.
We meet Hamilton (Jason Arrow) as a markedly intelligent young man yearning to find the pathway that will break the confines of manifest destiny.
As a student at Kings College in New York, he meets the crucial characters, fellow students, that will determine his fate. A pivotal scene is set in a tavern. Where revolution and insurrections are planned, along philosophical discussions.
Aaron Burr (Callan Purcell), Marquis de Lafayette (Victory Ndukwe) and Hecules Mulligan (Sami Afuni) are discoursing on the rebel insurrectionists, and their desires for fame.
The dialogue is delivered as fast and clever rap. Ideas flow thick and fast. Passion and anger are undercut with wit. At one point the free-flow references Grandmaster Flash’s The Message. An early classic of socio-political Hip-Hop commentary that went on to spawn Public Enemy and Niggaz wit Attitudes (NWA).
Rap music has its historical roots in the Dozens. An oral tradition where you call out your antagonisers and bullies with spontaneous free-flowing street poetry. Insults full of profanity and ribald humour. The best is judged the winner and physical violence is averted. Usually.
A Black American oral tradition, but it would be much older than that and have similar traditions in other cultures.
Hip-Hop originated in the New York City suburbs in the Seventies about the same time that Disco took off. It went on to become a vital music that now outsells Rock and Rock’n’roll.
As much as it is loved, it is also disparaged and denigrated by many in its country of origin, both Black and White. It currently sells far more to the white audience.
I would call Shakespeare an early Rap artist. His dialogue is dense and packed. Sexual ribaldry and clever insults abound, along with historical narratives and socio-political commentary.
Miranda is leaping in here and saying roll over Shakespeare and tell Chaucer the news!
He is also expanding the breadth of Rap. The songs also include Seventies Soul, sophisticated Pop and more familiar big stage musical numbers. In that fashion he is possibly redefining Rap and its popularity for a wider audience. One which will have a timeless resonance.
I am reminded of Scott Joplin, Black American Ragtime pioneer and his own masterwork, Treemonisha. Joplin wrote this as the one-and-only Ragtime opera in 1911.
The first complete performance was in 1972. It won a Pulitzer Prize in 1976.
We are introduced to the three Shuyler sisters, daughters to a wealthy politician.
Eliza Hamilton (Martha Berhane) marries Hamilton. Angelica Shuyler is also in love with him but stands aside for her younger sister.
Berhane has a beautifully fluid soprano, and the scenes with her and Arron alone are the most conventional with regards to lovers in a traditional musical. Edmonds comes in with a strong voice carrying American songbook-style songs.
Purcell also stands out in the key role of Burr. He rarely raps, and his smooth tenor voice provides a good counterpoint. The two characters are karmically intertwined. Burr is the Ka soul of Hamilton. The body-double that gets you through the afterlife of the Bardo.
They are linked in death in the most dramatic fashion.
Act Two balances the close and personal, to the historic and political, in equal fashion.
Rap comes to the fore with discussions in the Senate. Fast-paced, all-killer no-filler, spoken song delivery. The machinations of historical events are made immediate and thrilling.
George Washington (Matu Ngaropo), Thomas Jefferson (Ndukwe) and James Madison (Afuni) are authoritative.
The dancing is choreographed to the highest level. The British Army appears. Gunshots and cannons.
It is reminiscent of Shakespeare’s Henry IV. Hamilton opines that he feels like MacBeth, and he murmurs about Birnam Wood and Dunsinane.
King George the Third (Brent Hill) comes close to stealing the show every time he appears. The plays the role of the Fool, or Jester King. Has the manner of a ruthless but insightful Monarch and appears to be singing from the realm of the Gods. The benevolent and terrible ones.
Hamilton is a masterpiece. It will require several attendances to take it all in. We can spend our lifetimes and beyond doing that.
Rev Orange Peel
Hamilton is running at Spark Arena through 11 June. Tickets are available HERE.
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