Copyright Hartford Courant
“Hamilton” has returned to Hartford. If you haven’t seen the show since it was last at The Bushnell three years ago, it will seem different. If you’ve seen it more recently, it will still seem different. Each “Hamilton” cast brings its own energy. What hasn’t changed is how lively, immediate, topical and fresh the show still seems. The merchandise table has a lot of new items, like hoodies reminding you that this is the 10th anniversary of the New York premiere of “Hamilton.” Even the bars in the theater lobby offer a special Schuyler Sisters whiskey cocktail. The show, playing at The Bushnell through Nov. 16, is still a singular vision, a standout piece of well-crafted, history-minded, socially conscious entertainment that doesn’t feel dated or out of touch in the least since it first brought us catchy musical phrases like “the room where it happens,” “not throwin’ away my shot” and “Washington on your side” a decade ago. “Hamilton” moves with professional precision but also a great deal of charm and warmth. Tyler Fauntleroy plays Alexander Hamilton in a way that makes you understand his rapid rise through the earliest days of American politics. You see the character write and orate and network and sweat, but Fauntleroy also makes sure you understand how charming, smart and capable this person is. He doesn’t get somber and remote the way some other Hamiltons do. He stays vivid and alive. Likewise, Jimmy “JJ” Jeter as Hamilton’s (mostly) friendly rival Aaron Burr, stays funny, amiable and likeable throughout the shifting moods of the musical. He lowers the vanity and defensive you may feel with other Burrs, seems to share in the jokes that others make about his name (“Burr, sir,” etc.) and his shorter stature when he stands next to the lanky Faunteroy adds some nice spatial visual imagery about their relationship. Both Jeter and Fauntleroy fit smoothly into the ensemble rather than standing apart from it. In a company where the Alexander Hamilton and Aaron Burr actors seem less dominant, the supporting characters can get more attention and respect. A.D. Weaver is a tremendous George Washington. He has the baritone growl you associate with the character but can also sing in a sweet soulful high range. He takes Washington’s resignation song “One Last Time” into R&B/gospel territory. The dual roles of the speed-rapping Lafayette and the more Motown-esque Thomas Jefferson are given to Christian Magby, who blows through his complex tunes with a wicked smile on his face. A creative chronological biography of the adventurous first Secretary of the Treasury of United States, Revolutionary War hero and tortured soul, the hip-hop driven musical “Hamilton” is grounded in a concept of having Black, Latino and other non-white performers portraying the Founding Fathers, their families and cronies. Lin-Manuel Miranda, who wrote the show and originated the role of Hamilton, is of Puerto Rican descent but many subsequent Hamiltons have been Black, including Fauntleroy. ‘Hamilton,’ a decade old and still a huge musical hit, takes another shot at The Bushnell It’s rarer to see a non-white George III, the character that represents old white elitist patriarchy, monarchy and snarkiness. On Nov. 6 in Hartford, George III was played by Elvie Ellis, an understudy for multiple roles on the tour including the major ones of Aaron Burr and Lafayette/Jefferson. Ellis brought a special insouciance to George and was able to croon what is not considering a real singing role. Lauren Mariasoosay is an exceptional Eliza Hamilton, both graceful and brassy with a take-no-nonsense attitude. She works well with her fellow Schuyler Sisters Angelica (Marja Harmon) and Peggy (Lily Soto) as a sort of socialite Supremes trio. Their harmonies are among the best in this production. Which leads to a general observation about this latest national tour of “Hamilton.” No two versions of this show behave alike. The first time “Hamilton” came to The Bushnell in 2018 the tone was dark, austere, ceremonial. When it returned in 2022, it was livelier and leaned into the hip-hop rhythms. This one is lighter, literally. The lighting design doesn’t have the pinpoint focus and clarity recalled from previous visits. It’s more diffuse, not cutting through the darkness but lighter and airier in general. Similarly, the vocal chorus isn’t as precise and crisp and layered as you’d recognize from some other tours or from the “Hamilton” soundtrack album. It’s not off or wrong, just a different feel, more of a sing-along vibe than the eerie church choir effect the show sometimes has. That background vocal hum seems right for this go-round, since “Hamilton” has been seen and absorbed by so many people in its first decade as a pop culture sensation. When the show first came to Hartford in 2018, it had been such a sold-out success on Broadway that many people hadn’t been able to score a ticket and see it until it started touring in 2017. Disney didn’t start airing its video of a Broadway performance of “Hamilton” until 2020. The show is simply that much better known and seen and understood now. You can feel the flow and, appreciate the nuances in this cast’s interpretations of the songs. There is lots to admire about the “Hamilton” supporting ensemble. They dance divinely and athletically, they sing in a grand choral manner that lifts the songs onto another level. Equally impressively, they whisk furniture and large props on and off the stage with the cool grace of professional magicians. They can clear a stage while a scene is in progress and you can barely see them doing it. You can still find a lot of new excitement in “Hamilton.” With a different cast you can experience turns of phrase or musical moments that you might not have caught before. It’s hard to think of another show that has aged so well over its first decade. The audience reaction on Wednesday was as loud and cheery as ever. This momentous history mix still has its eyes on you.
