On Theater: ‘Hamilton’ throbs with historical passion

By Tom Titus

May 10, 2018 3:05 PM PT

Orange County theatergoers finally have the chance to see what all the fuss was about. “Hamilton” now resides at the Segerstrom Center for the Arts and all the superlatives you’ve heard are accurate.

The brainchild of Lin-Manuel Miranda, who penned the book, music and lyrics, then played the title role on Broadway, “Hamilton” traces the life and career of America’s first Treasury Secretary Alexander Hamilton in a freewheeling, musically vibrant production.

Highlighted are the title character’s days as a brash, ambitious young man through the Revolutionary War, his romantic indiscretions and his eventual death on the dueling green at the hands of a former colleague, Vice President Aaron Burr.

Burr’s character narrates most of the show, describing himself as “the damn fool who shot him.” In this touring production he’s played commandingly by Nik Walker, an imposing African-American actor and one of a number of African Americans in key roles in this racially diverse cast, including those of Jefferson and Madison.

Hamilton himself is played by Joseph Morales, a diminutive figure beside Walker but a steely, determined character nonetheless. Morales brings this little-known patriot front and center, vowing, ironically, not to “miss my shot” in history. His sexual dalliance predates those of Kennedy, Clinton and Trump by several centuries.

Shoba Narayan enacts Hamilton’s loving wife for whom his adulterous fling burns deeply but who vows to tell his story. Marcus Choi has a firm grip on the period’s most pivotal character, George Washington, in a driving, determined portrayal.

A standout in his two brief stage moments is Jon Patrick Walker as the thwarted King George who vows musically that “You’ll Be Back” and even drops a line yet to be written by Gilbert and Sullivan. Kyle Scatliffe impresses as both Jefferson and Lafayette, while Jen Sese gives a poignant performance as the spurned sister of Hamilton’s wife.

“Hamilton” inevitably will be compared to another founding fathers musical, “1776,” in which John Adams is the driving force. Here, however, Adams is merely an unseen footnote, mentioned only as the president sandwiched in between Washington and Jefferson.

Director Thomas Kail has mounted a superlative production functioning on multiple layers of the stage. The sprawling choreography is beautifully assembled by Andy Blankenbuehler and steps out smartly to the music orchestrated by Alex Lacamoire.

If there is one negative aspect to this production, it lies in the ensemble voices during the early moments which often lack lyrical clarity, in part because they’re often overriden by the music. Miranda’s words are biting and well chosen. They should be clearly projected.

That complaint aside, “Hamilton” is a spectacular history lesson set to an upbeat score reflecting 21st century preferences. It’ll pack the seats, even at inflated ticket prices, through the rest of the month.