Review: ‘Hamilton’ brings 18th century history to riveting life

“How does a bastard, orphan, son of a whore and a Scotsman, dropped in the middle of a forgotten spot in the Caribbean by providence, impoverished, in squalor, grow up to be a hero and a scholar?” Aaron Burr’s opening lyrics in “Alexander Hamilton,” the first song in the phenomenally successful Tony Award-winning musical “Hamilton,” pose the ideal setup question to draw even first-timers (like me) into the story of this founding father.

And let’s face it: Prior to the 2015 Broadway production, which won 11 Tony Awards in 2016, as well as the Pulitzer Prize for Drama, many of us probably knew Alexander Hamilton only as someone who had a duel with Aaron Burr, and has his portrait on the $10 bill. But this entertaining musical biography, with song styles ranging from hip-hop to R&B to jazz to ballads, is now back in Chicago through the end of the year, so hip-hop your way to the Nederlander now – especially if you’re a “Hamilton” newbie.

On to the plot. The advice Burr (played here with slow-simmering emotion by Deon’te Goodman) gives the ambitious Hamilton (Pierre Jean Gonzalez) when they first meet in New England: “Talk less – smile more” isn’t followed. (“I’d rather be divisive than indecisive,” Hamilton explains.) More supportive of Hamilton’s vocal, pro-independence stance are the boisterous John Laurens (Tyler Fauntleroy), French freedom-fighter Marquis de Lafayette (Jared Howelton) and Irish strongman Hercules Mulligan (Eddie Ortega), as well as the future president, Gen. George Washington (Marcus Choi).

While Hamilton wants to make his name in battle (“Give me a position, show me where the ammunition is,” his desire summarized in the song “My Shot”), he ultimately accepts Gen. Washington’s offer to be his “Right Hand Man,” a job Burr had hoped for. With the charismatic performances of Gonzalez, Fauntleroy, Howelton, Ortega and Choi, we sense that many would follow any of these characters into battle. Burr, supporting the revolution but purposely standing on the sidelines, frustrates us (as Hamilton says, “If you stand for nothing, Burr, what’ll you fall for?”), but his ongoing narration provides just the kind of perspective we need in order to see Hamilton as a real person, not a 1700s superhero.

When the three daughters of the wealthy Philip Schuyler first appear (the song “The Schuyler Sisters” introducing them in beautiful pastel gowns, examples of costume designer Paul Tazewell’s excellent work), we see that two are attracted to Hamilton. Angelica (Ashley LaLonde in the role on press night) feels immediate chemistry with him, but suppresses her chance at happiness when her younger sister Eliza (Nikisha Williams) says she’s “Helpless” in Hamilton’s presence. In short order, Eliza becomes his wife, and Angelica his pen pal/emotional affair partner. LaLonde and Williams, and later Jisel Soleil Ayon as Maria Reynolds (also playing Peggy Schuyler on press night), do an excellent job showing the different feelings Hamilton can inspire in the women in his life.

When Washington becomes president, he asks Hamilton to be his treasury secretary, and taps Thomas Jefferson (Howelton again) as secretary of state, setting up cabinet battles that composer and lyricist Lin-Manuel Miranda turns into amazing battle raps (“In Virginia, we plant seeds in the ground. We create. You just wanna move our money around” versus “‘We plant seeds in the South. We create.’ Yeah, keep ranting, we know who’s really doing the planting.”).

Not having seen “Hamilton” in its first Chicago visit, I mistakenly thought it was all hip-hop. It isn’t. It’s so much more:

· The plot has romance, multiple duels, political intrigue and scandal;

· There’s humor, especially when King George – hilariously portrayed by Neil Haskell – comes on stage to comment musically on the goings-on in the colonies (“When push comes to shove, I will send a fully armed battalion to remind you of my love!”), and when Jefferson first appears after years away as the ambassador to France (the jazzy “What’d I Miss” giving Howelton a chance to hammily play to his adoring supporters);

· The well-worded songs give you plenty of insight into the characters’ desires (Burr’s wish to be in “The Room Where It Happens,” when he’s shut out of behind-the-scenes political maneuvering, and Hamilton’s willingness [in “Hurricane”] to put his sins on public display to protect his legacy);

· Many of the 1700s-appropriate comments still resonate in 2023 (“If we try to fight in every revolution in the world, we never stop. Where do we draw the line?”).

In summary, there are many reasons a show wins 11 Tony Awards; under the direction of Thomas Kail, they’re all on display here. If you’ve only seen “Hamilton” on a streaming service at home, you haven’t experienced the true excitement of a live performance. While it may cost you many Hamiltons, you’ll definitely want to be in the room where “Hamilton” happens.

• Paul Lockwood is a singer, local theater actor, Grace Lutheran Church (Woodstock) and Toastmasters member, columnist and past president of TownSquare Players. He’s lived in Woodstock for over 22 years.

IF YOU GO

WHAT: “Hamilton”

WHERE: James M. Nederlander Theatre, 24 W. Randolph St., Chicago

WHEN: Through Dec. 30

INFORMATION: broadwayinchicago.com