hamilton philip tour review

Review Roundup: HAMILTON Re-Launches 'Philip Company' Tour

The production reopened its tour for the first time since the COVID-19 shutdown began.

Hamilton's Philip company returned to the stage last month in Atlanta, where the production reopened its tour for the first time since the COVID-19 shutdown began.

The cast is led by Pierre Jean Gonzalez as Alexander Hamilton, with Ta'Rea Campbell , Marcus Choi , Jared Dixon , Desmond Sean Ellington , Warren Egypt Franklin , Neil Haskell , Elijah Malcomb Stephanie Jae Park , Paige Smallwood , and more.

Learn more about the production and its upcoming dates at https://hamiltonmusical.com/us-tour/home/ .

Let's see what the critics are saying...

Fox Theatre - Atlanta, GA

Ella Embry, BroadwayWorld : HAMILTON at The Fox Theatre is a remarkable show and the perfect note to revive theatre in Atlanta with. With power-house performances, technical masterpieces, and a multiple award-winning score, being able to see HAMILTON almost feels like a rite of Broadway passage now. Even if you've streamed it on Disney+, listened to the soundtrack on repeat for months, and watched as many clips as you could find on YouTube, seeing the show in person makes everything feel new again.

Manning Harris, Atlanta in Town : David Korins ' sparkling, wooden, scaffolded set, with two turntables at the center, is an earth-colored marvel. Alex Lacamoire 's music supervision and orchestrations are heaven-sent. The entire evening is directed by Thomas Kail , whose work causes a simple coming together that takes your breath away.

Abby Williams, The Emory Wheel : Though I'm incredibly partial to the original cast of "Hamilton" ( Lin-Manuel Miranda 's rendition of "My Shot" will always give me chills), I was nevertheless star-struck by how the Fox Theatre's production added its own quirks and idiosyncrasies to each character. Stephanie Jae Park 's portrayal of Eliza was more emotive than that of Phillipa Soo : Park delivers Eliza's resolute line "I'm erasing myself from the narrative" with an irritated, rather than a removed, tone, which made me gain a new respect for her as a bold character. Neil Haskell plays King George with a nasally, grating voice that only furthers his obnoxious role in the musical. Gonzalez in particular plays a tough, confident and direct Hamilton who raises his voice at British officials and boldly asks for Eliza's hand in marriage. I certainly missed the wistfulness and warmth of Miranda's portrayal, but I appreciated that we as the audience received an entirely new representation of Alexander Hamilton along with Gonzalez' stronger vocal ability.

Wendell Brock, The Atlanta Journal-Constitution : Though it took a few numbers for this "Hamilton" to find its footing, it does quickly get there. For this we must thank Gonzalez, yes, but also Jared Dixon 's charismatic Aaron Burr and the glorious Schuyler sisters: the wonderful Stephanie Jae Park as Eliza; the powerful Ta'Rea Campbell as Anjelica; and Smallwood, who also plays Peggy Schuyler. Burr may describe himself as "the damn fool" who killed Hamilton, but comes off more as a shrewd and polished politician than a conventional villain. That's a tribute to Miranda's nuanced writing - of the book, music and lyrics.

Times Union Performing Arts Center - Jacksonville, FL

Charlie Patton, Jacksonville.com : The cast that has come to Jacksonville is outstanding, full of actors who have performed on Broadway and have significant television credits. I particularly liked Warren Egypt Franklin who plays two roles, Lafayette in act one and Thomas Jefferson in act two. Both are great roles, especially Jefferson, and both are well played. Providing rich comic relief is Neil Haskell, who plays an ultimately puzzled King George (puzzled that leaders could just step down; puzzled that John Adams would be allowed to assume Washington's crown).

Kimmel Center - Philadelphia, PA

Chloe Rabinowitz, BroadwayWorld : Culture may shift, discussions may arise, and Hamilton may have struck at the perfect moment in time, but at the end of the day, the quality of the show is undeniable. Hamilton might not feel quite as revolutionary as it once was, but it is still one of the best-written, most creatively staged musicals of all time, one that requires not only a production on Broadway, but in the West End, Los Angeles, Australia, and soon in Germany, as well as three national touring companies.

Providence Performing Arts Center - Providence, RI

Erica Cataldi-Roberts, BroadwayWorld : All of this makes for large shoes to fill, but the Philip Tour is more than up to the task. Aaron Burr is often considered the show's true main character, and Jared Dixon makes that the case for why. Through Dixon's acting choices and detail in even the small moments, Burr's frustrations with Hamilton are palpable from the beginning, and continue to smolder until his turning point during "The Room Where It Happens" in the second act. That the animosity between Burr and Hamilton builds so effectively throughout the show makes "The Election of 1800" sting that much more, with the decision to duel as the inevitable outcome.

Ken Abrams, WUN : There are no low points in this show. Clocking in at almost three hours, there is never a dull moment. If you haven't seen "Hamilton," now's the time. Trust me, you "wanna be in the room where it happens."

Susan McDonald, The Providence Journal : The cast also makes its special mark on the story. Vocally, the most chilling moments come in the second act, when Jared Dixon delivers stunning, controlled notes as Burr in "The World Was Wide Enough," Stephanie Jae Park's sweet tones frame Eliza Hamilton's delivery of the show's most tender moments in "It's Quiet Uptown," and Pierre Jean Gonzalez, whose performance as Hamilton is strong, displays heartbreaking vulnerability in "Hurricane."

Will Demers, Edge Media Network: As is the company cast, the choreography is so intricate and woven through each number. The show itself offers a wealth of striking visuals and memorable musical pieces. One would imagine that a show that is sung, as well as rapped, through would be difficult to follow, but this cast drives each point home beautifully. PPAC's resident director Tiffany Nichole Green re-creates the original Tony-award winning direction of Thomas Rail and choreography of Andy Blankenbuehler.

Shea's Performing Arts Center - Buffalo, NY

Michael Rabice, BroadwayWorld : Pierre Jean Gonzalez is Alexander Hamilton, himself being a near dead ringer to Miranda. He seamlessly transitions from rap to full on singing while commanding the stage at all times. Mr Gonzalez takes on the challenging role with aplomb- no easy feat for a character that is highly educated and politically brilliant but prone to many bad decisions in his private life . He is plagued with relationship issues, to say nothing of decisions that lead to the death of his son and himself, both dying by duels gone wrong.

Peter Hall, Buffalo Rising : I went on the second night of the run, with one "Standby" taking a role, and that was the one-named Meecah in the role of Eliza. She was phenomenal as was most of the rest of the cast. The title role was sung by Pierre Jean Gonzalez whose looks and whose voice were uncannily close to Lin-Manuel Miranda's. So if you're used to hearing Phillipa Soo and Lin-Manuel Miranda (the original Broadway Eliza and Hamilton) in your earbuds, you won't be disappointed at the live, on-stage performance at Shea's.

Matthew Nerber, The Buffalo News : Hindsight has only deepened this material, and has made Miranda's obsessive writing about time - how we choose to use the precious resource, and how futile any grand gesture ultimately looks when held up against our mortality - seem all the more prescient. Now, approaching the second-year anniversary of a global pandemic, Eliza Schuyler's beautiful refrain of "Look around, look around, how lucky we are to be alive right now," feels devastatingly true.

Ann Marie Cusella, Welcome 716 : Pierre Jean Gonzalez personifies the "young, scrappy, and hungry" Hamilton in a role that he has made his own. His cocksure young man-on-the-make is full of himself, and shows he has the brains and courage to back up his bravado. Mr. Gonzalez does this with great aplomb, and then is able to shift into a more thoughtful Hamilton as the years and his choices catch up with him. His posture changes and he walks a bit slower. He talks less, but unfortunately in the end, does not smile more. Mr. Gonzalez seamlessly makes this transformation.

Schuster Performing Arts Center [Mead Theatre] - Dayton, OH

Michael Woody, Dayton Local : For the last few years there's been a lot of hype about Hamilton, and similar to Wordle, I didn't buy into it all. Unlike anyone in D.C though, I'm not afraid to admit when I'm wrong. Due to my preference of musicals with dialogue mixed in between the songs, I shouldn't like Hamilton. However, I thoroughly enjoyed it. To not appreciate the brilliance of the show would be criminal, as its exceptionally done. I highly admire Lin-Manuel Miranda for writing such a masterpiece. From beginning to end, for nearly three hours with barely any silence, every word flows in perfect rhythm. That's not easy to do, as I sometimes struggle for two sentences to go together seamlessly. Plus it covers content from hundreds of years ago and translates into rap, hip hop, R&B and other modern music genres.

DeVos Performance Hall - Grand Rapids, MI

John Kissane, The Rapidian : Pierre Jean Gonzalez played the titular character. It's quite a role, requiring that the actor rap well and sing movingly, all while transitioning from idealistic youth to battered, but still morally-driven, middle age. Gonzalez succeeded admirably. And, while it might be heretical to say so, he sings better than Miranda.

Benedum Center for the Performing Arts - Pittsburgh, PA

Greg Kerestan, BroadwayWorld : In the title role of A dot Ham, Pierre Jean Gonzalez brings the appropriate amount of naivite, enthusiasm and gravitas. He doesn't rap as well as Lin (this is a universal statement over the cast: their singing is often better but they lack the tailor-made hip-hop flow of the originals), but he sings much better and is notably more confident than the Godfather himself in the dancing portions. Blaine Alden Krauss also shines as Hamilton's off-and-on nemesis Burr, his smooth baritone fitting the calculated political schemer well. Nick Sanchez 's bundle of energy performance makes Lafayette/Jefferson a galvanizing portrayal, and Elijah Malcolmb gives the best performance as Philip Hamilton I've ever seen, aging from a preteen boy to a cocky wannabe gangster so realistically you'd almost think it was two different performers. Stephanie Jae Park 's voice is cool and smooth and soothing, making her quietly passionate Eliza the emotional center of the show as always, while Ta'Rea Campbell's righteous fire and fury makes "The Schuyler Sisters" and "Satisfied" kick.

Landmark Theatre - Syracuse, NY

Tony Curulla, Syracuse.com : It's a darn good thing the M&T Bank Broadway Series was able to secure a "road" company of the blockbuster "Hamilton" for a 13-day run at the reinvigorated Landmark Theatre in downtown Syracuse, because once word got out from early attendees, Syracuse might have had its own revolutionary upheaval from disappointed musical theater fans had the tour stopped for just a typical three-day engagement.

Wharton Center [Cobb Great Hall] - East Lansing, MI

Liz Nass, State News : This story is character-driven, with most of the cast having large and demanding roles. One character that stood out to me in this cast, one I had never been pulled to before, was John Laurens, played by Elijah Malcomb. The actor played it in such a dynamic way that made me care about the character more than I ever had in my years of watching the show. Another character that I had underestimated was James Madison, which had more of a comedic personality rather than informative and deliberate, just working as Jefferson's sidekick.

Fox Theatre - St. Louis, MO

Calvin Wilson, St. Louis Post-Dispatch : The cast of the national touring production is first-rate - particularly Gonzalez and Dixon, who bring to their roles just the right balance of humor and gravitas, and Stephanie Jae Park, in a heartbreaking turn as Hamilton's wife, Eliza.

Civic Center Of Greater Des Moines - Des Moines, IA

DC Felton, BroadwayWorld : One of the great parts of seeing shows like Hamilton multiple times is how you notice different parts of the show. That can be from where you are sitting. The first time I saw the tour, I was sitting up close and could see some of the details of the fantastic costumes, but I wasn't able to see the turntable. This time I got to sit further back. While I couldn't see as many of the small details, I was able to take in the whole story the show is presenting. So the elements of storytelling used throughout the show hit me differently.

The Kentucky Center for the Performing Arts - Louisville, KY

Dortha Hagan, Leo Weekly : The choreography, like the music, made a statement that was relatable and easy to understand. My 10-year-old, at the age minimum recommendation, followed along and did not tire of the performance at any point. Instead, my son reveled in it, hoping his brothers could soon see the production. The story, at three points, had me in tears. One of which was when Washington, played by Marcus Choi, sang in "One Last Time" about the virtue of handing over the nation to and modeling how to do this. The fragile United States of America and the recent attack on our democracy were in my mind and heart. I have a new respect for remembering this legacy that Washington had imbued upon us as a nation-knowing that, only recently, our democracy was very close to becoming lost.

Kirby Adams, Courier Journal : And while Hamilton is the lead character, he's certainly not the only star of this touring production. Marcus Choi portrays George Washington as a stoic commander who thrilled the Kentucky Center audience with his powerful performance of "One Last Time" near the middle of Act II. While it's tough to like "villian" Aaron Burr, the actor who plays him, Jared Dixon, is so convincing in the role you may have to remind yourself he's probably a very nice guy (and uber talented performer) in real life. And believe us when we say you'll absolutely be thankful you're "In the Room Where it Happens," when Dixon takes the stage.

Bushnell Center for the Performing Arts - Hartford, CT

Bonnie Goldberg, The Middletown Press: Incorporating hip-hop, rhythm and blues, Broadway show tunes, jazz and soul, "Hamilton" enjoys a grand set created by David Korins, period costumes designed by Paul Tazewell, illumination by Howell Binkley, sound mastered by Nevin Steinberg, orchestration by Alex Lacamoire, clever choreography by Andy Blankenbuehler, and superb direction by Thomas Kail.

Christopher Arnott, The Hartford Courant : There's lots of fine vocalizing in many styles, but it's particularly thrilling to hear such skilled, fierce rapping from Thomas Jefferson (Warren Egypt Franklin), Hercules Mulligan (played on Thursday night by Conroe Brooks, one of several deviations from the cast listed in the program) and John Laurens (Elijah Malcomb).

National Arts Centre - Ottawa, ON

Courtney Castelino, BroadwayWorld : Each touring production is named after a character in the show. The Ottawa touring cast has the "Philip" moniker attached to it. It is generally expected that touring production casts may not always be as experienced as those you might see on the Great White Way, but performances from the entire Philip Tour were on par with their Broadway counterparts. The standout to me was Ta'Rea Campbell in the role of Angelica - she gave a powerful performance and stole the scene whenever she appeared. Her vocals in one of my favourite songs, "It's Quiet Uptown", were so heartfelt, it quite literally brought tears to my eyes. Jared Dixon and Gonzalez as Aaron Burr and Alexander Hamilton, respectively, were both outstanding and commanded the stage with their presence. Magula portrayed Eliza as simultaneously sweet and strong. Magula understudies the role of Eliza, but you would never know it from her performance.

Proctor's Theatre - Schenectady, NY

Matthew G. Moross, The Daily Gazette : And, for the R & H fans, a big note - there is no overture. Nothing that gives you a listener's digest of tunes before we dive in. There are eleven notes of orchestral introduction to the show. That's it. And that's not a lot to get you pumped and primed for what lies ahead. So maybe hit the 'Tube of Yous' and listen to a number or two from the show. You won't be spoiling anything. Or ask one of your younger family members to grab two friends and ask them to perform "The Schuyler Sisters" number. Trust me they know it. You'll be singing it on the way home. "Work."

Altria Theater - Richmond, VA

The Free-Lance Star

Murat Theatre - Indianapolis, IN

Scott L. Miley, The Lebanon Reporter : Of special note, Marcus Choi as George Washington sings like the leader of a nation; he exemplifies the pressure that Washington is facing. Choi and Blaine Alden Krauss as Aaron Burr are physically and vocally commanding. Krauss' tenor is crisp and assertive, enough so that audience members might root for Burr in the first act.

Fox Cities Performing Arts Center - Appleton, WI

Kelli Arseneau, Post Crescent : From the first beats of the opening song, "Hamilton" immediately makes it clear to the audience that the two-and-a-half hour show is a spectacle, with dynamic choreography, goosebump-inducing harmonies and intense, passionate lyrics.

Plaza Theatre - El Paso, TX

Victor R. Martinez, El Paso Inc. : Krauss’ Hamilton took the audience on an excitable ride displaying a remarkable wide range of vocal complexity going from the rap-style “My Shot” in the first act to the melancholic “It’s Quite Uptown” in act two.

Buddy Holly Hall of Performing Arts and Sciences - Lubbock, TX

Morgan-Taylor Thomas, MRT : This cast gives more to its audience than a dramatic display. Through devout dedication, each member portrays an act of fascinating enthusiasm and expertise, both captivating and profound. The one hour and forty-minute commute from Midland-Odessa? Pocket change.

Lied Center for Performing Arts - Lincoln, NE

L. Kent Wolgamott, Lincoln Journal Star : As for the production, “Hamilton” is strikingly staged, with intricate ensemble dance numbers and intimate moments in front of a large wooden set with a moving staircase. The orchestra was on point from start to finish.

James M. Nederlander Theatre - Chicago, IL

Tina St. Angelo Wetzel, BroadwayWorld : Directed by  Thomas Kail , this incredible ensemble of actors keeps the audience riveted for 2 hours 45 minutes. It moves seamlessly through the decades.   Andy Blankenbuehler ’s choreography is explosive. The set design by  David Korins  is filled with levels, stairs, and ropes. The set is not behind a curtain when patrons enter the theatre. The oohs and awws are amazing to hear. The stellar orchestra conducted by  Emmanuel Schvartzman  brings Miranda’s score to new heights. Howell Blinkley’s lighting design is a feast for the eyes. The shadows and then bright lights are used effectively for the story.   Paul Tazewell ’s costumes are vibrant and rich. One of the few shows where the men wear really beautiful costumes. 

Steven Oxman, Chicago Sun Times : The lasting essentialness of this show is why I felt a twinge of concern — not disappointment yet, just a creeping worry — that the touring version seems smaller even though it isn’t (though this is a larger theater than when it played here last time) and with a slightly diminished sense of physical energy (to be fair, I was seeing the second show of the day). Perhaps it’s simply familiarity (this is my fifth time seeing the show), but I don’t think so. 

Dennis Polkow, New City Stage : But the touring production that opened Thursday at the Nederlander Theatre has Broadway-ized the tempos, rhythms, volumes, voices and forces which has the effect of dulling much of the urgency and swagger of the show. That is an aesthetic choice, of course, which I suspect many will welcome. I found myself holding my breath for the anticipated electricity experienced last time around only to find flashes here and there, but that the lightning never fully struck.

Kathy D. Hey, Third Coast Review : Pierre Jean Gonzalez is equally compelling as Alexander Hamilton. Gonzalez projects the passion and zeal to form the new republic and break free of King George III. His voice is smooth and he is nimble as a rapper. He does an excellent job of showing the humanity and weaknesses of Hamilton’s ambition. Gonzalez has great chemistry with Nikisha Williams playing Eliza Schuyler Hamilton. Williams has a beautiful voice and solid stage presence to hold her own in the story of a Founding Father. There is also an electric chemistry between Hamilton and Lencia Kebede as Eliza’s sister Angelica. The passion between Angelica and Alexander is the intellect and a mutual love of Eliza. Kebede is a fine singer harmonizing with Williams and Jen Sese as the third Schuyler sister Peggy.

Sammie Purcell, Rough Draft : Each performer on stage took care to differentiate themselves from the performances we know and love, turning in great character work in the process. As King George, Neil Haskell makes a joke of pomp and circumstance, pitching his voice high in his nasal cavity and turning the king into a simpering, petulant child. During “Burn,” in which Hamilton’s wife Eliza laments his infidelity, Nikisha Williams turns in one of the more searing renditions I’ve ever heard, a current of rage underscoring her sadness and pain. And as Angelica Schuyler, Lencia Kebede brought down the house during “Satisfied,” the eldest Schuyler sister’s number about her feelings for Hamilton. Kebede’s voice is smooth and effortless, and her vocal ad libs at the end seem to soar. 

Emma Loggins, FanBolt : While the allure of the original Broadway cast of Hamilton remains unmatched, Wednesday night’s performance did offer a new take on some expected characterizations, which, as noted above, isn’t a bad thing. It’s just different from what fans of Hamilton have come to appreciate. For example, some characters seem a little stiffer or subdued, feeling as if they’re dealing with more of an internal struggle than outwardly displaying the anger or passion that fans are used to the performances conveying (I specifically note this for Pierre Jean Gonzalez’s Hamilton and Deon’te Goodman’s Aaron Burr).

Koger Center for the Arts - Columbia, SC

Amanda Cooper, Cola Daily : The opening number, "Alexander Hamilton," sets the tone for the rest of the show, introducing the central character and his journey from humble beginnings to becoming one of the most influential figures in American history. The show delves into complex issues such as ambition, legacy, and the cost of revolution. However, what truly sets Hamilton apart is its diverse cast and innovative casting choices. Miranda intentionally cast people of color in the roles of the Founding Fathers, challenging traditional notions of who can portray historical figures on stage. 

Van Wezel Performing Arts Hall - Sarasota, FL

Jacob Ruscoe, BroadwayWorld : Central to the success of the Broadway touring version of Hamilton was its incredible choreography, which brought a dynamic energy and visual splendor to the stage. The dance routines were a powerful storytelling tool, enhancing the emotional depth of the narrative and immersing the audience in the world of the characters. The choreographers' innovative and intricate movements seamlessly integrated with the music and lyrics, creating a harmonious and captivating visual spectacle that elevated the production to new heights.

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‘Hamilton’ Review: A Contemporary Classic Dazzles in Boston

While much of the “Hamilton”-mania that consumed American culture during its 2015 Broadway premiere has since died down, the show remains equally as original and engaging to this day. Directed by Thomas Kail, “Hamilton” (The North American Tour) runs from Jan. 17 through March 12 at the Citizens Bank Opera House. The Philip Cast upheld the show's reputation as a bona fide Broadway classic. The Musical’s timeless appeal and undeniable brilliance protects it from many of the common pitfalls that accompany a touring production. Moreover, “Hamilton” in Boston benefits not just from its masterful lyricism, but also from several standout performances and highly inventive staging.

It is no secret that Lin-Manuel Miranda’s biographical reimagining, mostly consisting of rap and hip-hop songs, is a rather stunning lyrical feat. But until audiences find themselves seated for a live production of “Hamilton,” it is hard to fully comprehend the scope of Miranda’s genius. Unlike when watching the filmed production on Disney+, the immersive experience of seeing “Hamilton” live requires a kind of careful attention in audiences that is hard to replicate in a distraction-filled living room.

A key ingredient in the show’s impeccable musical composition is its consistent and effective use of lyrical and sonic motifs. With the entire show sung at a rather brisk pace, it seems as though “Hamilton” would be difficult to comprehend. However, the reality is exactly the opposite. Many of the show’s most famous songs, such as “My Shot” and “Satisfied,” have choruses that reappear throughout the show to connect the various events of Hamilton’s life. This mode of lyrical reprisal lends a pleasant cumulative dimension to the show, using short-term recognition to ease audience comprehension. The end result is the rare musical that simultaneously presents excellent music and powerful messages.

As for the performers giving life to Miranda’s work in Boston, there were no weak links among the cast. However, some stars shined especially bright. Nikisha Williams (“Eliza Hamilton”) stole every one of her scenes with a voice that dazzled the entire opera house. And when Williams performed “Burn,” perhaps the most vocally-demanding and emotionally-charged number in the show, she cemented her standout status by singing and emoting with a deep sorrow that touched everyone in the theater. By never sacrificing believability for excessive dramatics, Williams brought the theater to complete, awe-inspired silence. Jared Dixon (“Aaron Burr”) was also exceptional, as his smooth and rich vocals contrasted beautifully with his character’s increasingly frenzied state of mind.

And while “Hamilton” does cover much important historical ground in its almost three hour running time, Miranda thankfully infuses much of the show with a light, comedic tone. This dimension of the production is most obviously conveyed in the characters of “Thomas Jefferson” and “King George III,” portrayed by Jared Howelton and Neil Haskell, respectively. Both actors imbued their characters with very humorous personalities and mannerisms, eliciting uproars of laughter from the audience on many occasions.

In addition to wonderful performances, the scenic design by David Korins is notably captivating. While the somewhat bare, rope-filled set spanning multiple levels has become iconic, its real success lies in the innovative use of a double-rotating stage. The rotating element makes the eye-catching choreography more dynamic and engaging. And during “The World Was Wide Enough,” when the show opts for a rare moment of stillness among the actors, the jarring contrast with the usually motion-filled stage successfully adds weight to the words being sung.

While this advice may seem superfluous in a post- Hamilfans world, Boston residents and visitors should make every effort to see the show before it leaves Boston in March. This production may not seek to reinvent the original “Hamilton” formula, but luckily for audiences, it’s a winner either way. Whether a reluctant theatergoer, a crazed fan, or somewhere in between, “Hamilton” is an exceptional artistic and educational experience that will win over the hearts of even the most skeptical attendees.

—Staff Brady M. Connolly can be reached at [email protected]

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Thursday, April 11, 2024

Up for review: Hamilton's Philip Tour Company at the Wharton

Hamilton will be at the Wharton Center until April 10. Photo courtesy/Peggy National Tour.

The Broadway phenomenon that created many hardcore theater fans of this generation has taken the stage at the Wharton Center, bringing both theatrical artistry and historical drama to the table.

Even the empty stage before the show begins is something to take in. The set design is perfectly bare yet industrial and era-appropriate, reflecting the bare bones and structure of the country that Hamilton and the other founding fathers are about to build in front of our eyes.

As the show opened, it was obvious that Aaron Burr would still be my favorite character in the show, immediately displaying his insane vocals and acting chops as the main storyteller in the show, with Jared Dixon embodying the role right from the start. However, the audience could not have been more excited when Pierre Jean Gonzalez, playing the titular role of Alexander Hamilton, was introduced. The Cobb Great Hall was filled with applause.

My first observation was, from my perspective, Burr and Hamilton had switched personality traits. It seemed Burr was the more smooth character, while Hamilton was more eccentric. I think this still fit their character dynamics, but I felt as though the original Burr had played the character as on edge and neurotic.

The other glaringly obvious observation was that the ensemble was genuinely hypnotic. Hamilton has an ensemble to end all other ensembles. The choreography is so deliberate in its style of movement, telling the story as fluidly as the lyrics do.

This story is character-driven, with most of the cast having large and demanding roles. One character that stood out to me in this cast, one I had never been pulled to before, was John Laurens, played by Elijah Malcomb. The actor played it in such a dynamic way that made me care about the character more than I ever had in my years of watching the show. Another character that I had underestimated was James Madison, which had more of a comedic personality rather than informative and deliberate, just working as Jefferson’s sidekick.

Gonzalez also made me enjoy Hamilton more because he fixed the problem that many theater fans have with Lin Manuel Miranda’s portrayal: his vocals. Gonzalez was much stronger in that range, able to give both strong acting and vocal performances.

The introduction of the Schuyler Sisters was satisfying, their voices mixing together perfectly and smoothly. Angelica’s acting chops were the most apparent in the sisters; however, many audience members pointed out Eliza as their favorite character.

Unfortunately, I did not agree. I felt as though the Philip Tour portrayed her as Disney-fied, reflecting on how a Disney princess would act, not as a political figurehead. I do think her power returned in “Burn,” the tipping point for her character, which I believe was the most emotional part of the show. Because of this song, many see her as a role model for powerful women at a time when women were not seen as impactful.

Another stand-out character was the one and only King George. His acting as the iconic, sassy character was perfect, adding a nasally sound to the accent, making it sound even more sarcastic, bringing humor where there may be lulls in the show if he was not present.

“(King George) is good every time, and every King George is so different, but it just works,” audience member Madeline Merritt said. “It’s better that they’re all different because it’s a role that really is made for someone … to do (their) thing.” Thomas Jefferson is another character that has one of the most potent personalities. He has many unlikable attributes but is still a fan favorite due to his charm.

Some of my favorite scenes included heavy ensemble harmonies and dance numbers that still highlight a character and their intentions. “Room Where It Happens” and “Yorktown” are scenes that blew me away with aspects of harmonies, storytelling, and ensemble engagement in the story. “The Reynolds Pamphlet” is also a fun moment for the whole cast, filled with chaos, fitting the actions of the scandal that Hamilton had just admitted to. The duel scene between Burr and Hamilton also had incredible visuals, especially with an ensemble member depicting the bullet barreling towards Hamilton during his last refrain before his death.

Others were excited to see their personal favorite parts played out live in front of them, like Cindy Rhein, who brought her daughter, ready to share the show she has loved for a long time with her family.

“I have two favorite parts,” Rhein said. “When Washington says goodbye … that whole sequence is just really powerful. My other favorite part is actually at the end of Act 1 in the song ‘Nonstop’ but the second half when they talk about the (Federalist Papers) ... how passionate our founding fathers were.”

Renee Elise Goldsberry's homecoming to the Wharton Center

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It feels as though all the scenes in the show lead up to the finale, which is many people’s favorite part of the show, being the perfect payoff to the last three hours of the musical. Kim Thompson was affected by its thematic ending.

“(The finale) seemed like it was a lot about forgiveness, which I really liked,” Thompson said.

Eliza being the main focus of the ending, diehard fans of her character were excited to see her character meet her full potential.

“My personal favorite choice that Lin Manuel made when he did this was letting the last song be Eliza’s because I think as much as Hamilton was chosen as the subject for this because he was lesser-known and less ‘remembered,’ it was really her,” Merritt said. “She did a lot of the leg work and she carried the story. I think letting her have that ‘final bow’ is really profound in the way we are giving back to women in a time that a lot was taken from them.”

Merritt has had a personal connection to this show for years, now seeing it through a nostalgic lens.

“I was a huge fan when the musical first came out,” Merritt said. “When I was sitting in there, it felt like I was 16 again, and it had just come out. I have seen it multiple times, and I felt like I was seeing it for the first time again because it still felt just as special to be in the room even though I haven’t listened to this or seen this in literally years. Still, it took me right back there.”

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Merritt came with her best friend, Emilee Kuiphoff, introducing her to the show she had raved about for years.

“I just started my Hamilton era last month (when) I saw it for the first time,” Kuiphoff said. “I have been living this for the past month, so just being able to live it again and see all the characters again because it’s pretty relatively the same cast.”

While the themes in the show range from envy turning simple men into villains, creating a legacy, fighting for what you believe in, and the greed that comes with ambition, one of my favorite themes is that of reflecting on the founding fathers and their struggle to create a country where we can all have a legacy. Rhein felt the same way as she left the theater.

“As an older person, it brings light to the struggle and to the passion our founding fathers had for this country and what they fought for that we as a modern society don’t know personally,” Rhein said. “It brings it to light for the younger generations in a very real way.”

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Arts and Entertainment Reviews

Theater Review: HAMILTON (North American Tour)

by Tony Frankel on September 29, 2022

in Theater-Los Angeles , Theater-Regional , Tours

OUR FUNKY FOUNDING FATHERS

A hip-hop Alexander Hamilton? A beat-box Father of His Country? A jumping James Madison and a jiveass Jefferson who disses bigtime in a poetry slam? The ten-dollar bill will never be the same (or the dollar note for that matter). A sassy-spunky 2015 blast from the past set to irresistible rhythms,  Hamilton  is a wildly successful revamp (or reclamation) by Lin-Manuel Miranda (creator of  In the Heights ). It feels as revolutionary as the war it covers and as bold as the new nation it celebrates.

A money maker about the credit-worthy man who made our money (our first treasury secretary, co-author of  The Federalist Papers , and deal-maker for a strong government and centralized economy),  Hamilton is indefinitely invincible in this stop at Segerstrom Hall as part of a North American Tour.

Rapping and rampaging in set designer David Korins ’ big barn with wooden walkways and revolving stage, all but dancing to Howell Binkley ’s wizard lighting, Miranda’s makeover finds its heart beat  in “(I’m Not Going to Lose) My Shot” (darkly ironic, considering Hamilton’s demise). This is Hamilton’s declaration of independence as a hopeful, hungry seeker of newly minted glory, driven by a destiny he carves himself. Everything old is new again as we learn “who lives, who dies, who tells your story.”

DeAundre’ Woods tackles the title role with combustible ambition, climbing notes and surmounting obstacles from 1776 to 1800. Along Miranda’s “green brick road” we meet Hamilton’s true if tried helpmate Eliza (lovely Morgan Anita Wood ), his surrogate dad George Washington ( Darnell Abraham ), his ally Madison ( Brandon Louis Armstrong ), his opportunistic foil Burr ( Donald Webber, Jr. ), and his ideological foe Thomas Jefferson ( Paris Nix ). (John Adams, who HBO covered well enough, does not appear.) Keeping it huge as well as real, Miranda includes a sardonically clueless George III ( Rick Negron ), a stalwart Marquis de Lafayette (Nix), Hamilton’s cut-from-the-same-cloth teenage son Philip ( Manuel Stark Santos ), and Angelica Schuyler ( Marja Harmon ), Hamilton’s sustaining Muse and sister-in-law. Some actors are still working on diction, others were heard perfectly.

Drawing from Ron Chernow ’s 2004 biography, the action contrasts private and public happenings to show how, more than politics, history is local. Hamilton seems as much the subtle strategist who became G.W.’s “right hand man” as the skilled suitor to the Schuyler sisters, as much a comer (“History Has Its Eyes on You”) as a marked man (“The World Was Wide Enough”).

Radiating pluck and luck, opposing Northern interests to Southern subversion, Woods’ Hamilton is a dogged campaigner, whether negotiating  affaires d’honneur  (“Ten Duel Commandments”); intriguing for advantage (“Cabinet Battle”); forging a difference (“The Room Where It Happens”); admitting to bribing an irate husband to cover an adulterous affair (“The Reynolds Pamphlet”); or simply settling for some short serenity (“That Would Be Enough”). Paralleling the ardor of his once and future victim with his own aching aspirations, Mr. Webber, Jr.’s Burr (“Wait for It”), himself an orphan, fits Hamilton as Javert does Jean Valjean. Ms. Woods incarnates heartbreak in Eliza’s pop anthem “Burn.” No Madame Tussaud’s waxworks, the ensemble is game for fame.

You can fault Miranda’s fascination with a flawed hero to rewrite the story a bit — but, hey, this is the land of Musical Comedy: No bronze statue in the making, Hamilton was not opposed to slavery. A closet elitist, he was no pal to democracy, despising the mob and cultivating fellow plutocrats. It’s strange that Hamilton was decisive in making his arch adversary Thomas Jefferson our third president: Miranda’s ire at the adulterous slave owner stops him from acknowledging the populist fervor of a virtuous Virginian. (For more dicrepensies to the story, see the displays in the lobby.)

But, pulsating to Andy Klankenbuehler ’s kinetic choreography, Hamilton  is a “non-stop” Pulitzer and Tony-winning musical, not a political testament. A nearly three-hour amusement ride, this is America as seen from the future, not projected from the past. Thomas Kail ’s faithful staging squeezes the juices from Miranda’s R&B magic-making. When it’s not S.R.O. (which it was on opening night), there will be dancing in the aisles. It’s impossible not to be caught up in the sheer anti-boredom of it all, thrill-making 21st-century theatricality to rechristen the republic.

photos by Joan Marcus

HAMILTON reviewed at Segerstrom Center for the Arts, 600 Town Center Drive Costa Mesa Tues-Fri at 7:30; Sat at 2 & 8; Sun at 1 & 7 ends on October 16, 2022 at Segerstrom for tickets, call (714) 556-2787 or visit SCFTA tour continues; for dates and cities, visit Hamilton

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‘Hamilton’ is back at Kennedy Center as invigorating as ever

Watching performers masterfully step into these characters and tell their story is breathtaking.

The North American Tour of the worldwide phenomenon that is Hamilton has returned to the Kennedy Center. Lin Manuel Miranda’s hip-hop/rap musical history epic follows the journey of Alexander Hamilton as he grows from an orphan to a Founding Father of our nation, amid his personal downfalls and many triumphs. Hamilton originally premiered on Broadway in 2015 and a filmed version appeared on Disney+ in 2020.

The show is the gorgeous culmination of many moving parts, each being equally vital to the essence of the production. Andy Blankenbuehler’s original choreography and Thomas Kail’s direction are married to the music, and this would not be Hamilton without any of them. The same could be said for David Korins’ meticulous set design, with turntables and scaffolding symbolizing the cyclical nature of life and the development of the country.

There are currently three touring casts and the one gracing the stage of the Opera House is called the Philip. I can’t speak to the other two casts (the Angelica and the Peggy), but the Philip does not disappoint. Pierre Jean Gonzalez plays Hamilton with passion and beautifully displays his evolution through naivete as a young immigrant orphan into a highly respected public figure.

Jared Dixon is his frenemy rival, Aaron Burr, and the two effectively play off each other as they continuously cross paths and butt heads. Dixon personifies the burgeoning resentment Burr has for Hamilton’s life and political path. Dixon and Gonzalez have countless mentionable moments, but my favorite is the love and tenderness of “Dear Theodosia” showing these strong pillars of men completely unraveling from the experience of fatherhood.

Marcus Choi performs as the formidable George Washington, embodying the balance of poise,  power, and humility. A contrast to the arrogance and pomp of King George, brilliantly portrayed by Neil Haskell with such blatant viciousness you instantly love to hate him. Haskell’s “You’ll Be Back” is an absolute delight.

There is no weak link in this cast with Warren Egypt Franklin crushing as a saucy Lafayette and then the sharp-tongued Thoman Jefferson in the second act, singing the hyped “What’d I Miss.” As Hercules Mulligan, Conroe Brooks (understudying Desmond Sean Ellington) carries the forceful intensity the role requires, only to transform into the muted and measured Madison of act two. And rounding out the friend trio is Hamilton’s bestie, John Laurens, who Marcus John imbues with bravery and dedication and then becomes the Hamilton mini-me, Philip, possessing all of the innocence and confidence his father carried in the first act.

The women are no exception to exceptionalism. Julia Estrada (understudying Paige Smallwood) is the third-wheel forgettable sister “and” Peggy, and then exudes fervent persuasion as the lusty Maria Reynolds. Ta’Rea Campbell as Angelica Schuyler is an intelligent woman of forceful determination. Her gut-wrenching “It’s Quiet Uptown” brought me to full tears. And Vanessa Magula (understudying Stephanie Jae Park) is Eliza Hamilton, who begins as a trusting, joyful young woman. Magula’s stunning “Burn” tears your heart in two as you watch betrayal destroy her emotionally, but then regains her strength and resolve to honor Hamilton in the emotional “Finale.”

Last but not least, the ensemble is crucial to the unfolding tale and their precision and execution are remarkably performed by Aaron J. Albano, Taylor Broadard, Demarius R. Copes, Pedro Garza, Cyndal Gilmore, Kristen Hoagland, Gabriel Hyman, Mallory Michaellann, Takeo McCarroll, Trevor Miles, and Christopher Rice-Thomson.

The North American Tour of Hamilton is deliciously fulfilling, checking all the required theater boxes. The musical numbers lift the audience from their seats, the cast gives impressive portrayals with heart, and the complex technical aspect of the production is seemingly flawless.

There are so many highlights, I cannot mention them all. The final notes of Choi’s Washington singing “One Last Time” gave me chills. The biting wit and cheekiness of Burr (Dixon) and Hamilton (Gonzalez) in “Your Obedient Servant” is pure hilarity. The unison, off-hand line delivered by Lafayette (Franklin) and Hamilton (Gonzalez) that immigrants “get the job done” brought cheers and yelps of appreciation from the crowd. Gonzalez’s Hamilton’s dismantling of Seabury (Aaron J. Albano) in “Farmer Refuted” is absolute perfection.

And Eliza’s gasp at the end? Is she seeing Hamilton? Her son? Or is it the realization that her longing for her husband’s story to be heard has been fulfilled by herself? There are several theories as to its meaning and Miranda is said to welcome the debate without offering a definitive answer.

That is part of the beauty of live performance. We know the words to the songs. We know the melodies and moves, but watching performers masterfully step into these characters and tell their story with their individual interpretations is breathtaking. And the Philip cast does exactly that on the stage of the Kennedy Center.

This was my second time seeing Hamilton in live theater and the experience was just as invigorating as the first time. The energy in the theater is difficult to match with words and it’s impossible to tell who is more excited to be there, the cast or the audience. Palpable energy flows through the entire show and infects the air. You laugh, you cry, you smack your husband because he keeps trying to sing along.

Kennedy Center’s run of Hamilton is worth the long line and terrible traffic to get to see this magical production. The show retains all of the bubbling anticipation and vivacity of when it was first revealed to the public. And I don’t foresee that fierce admiration for Lin-Manuel Miranda’s finest work to dissipate any time soon.

Running Time: Approximately two hours 45 minutes, with one 15-minute intermission.

Hamilton plays through October 9, 2022, in the Opera House at The Kennedy Center, 2700 F St NW, Washington, DC. Tickets ($59–$399) are available at the Kennedy Center box office, online, or by calling (202) 467-4600 or (800) 444-1324.

A limited number of $49 Rush tickets will be available for every performance beginning two hours prior to curtain time at the box office except Sundays when Rush tickets will go on sale at noon. There will also be a digital rush via TodayTix, beginning at 10 am the day of the performance. (See the TodayTix app for details.) And there will be forty (40) $10 seats offered for all performances via Lucky Seat . (See the Lucky Seat website for rules and entry.)

The digital program for Hamilton can be found here.

COVID Safety:  Masks are required for all patrons inside all theaters during performances at the Kennedy Center unless actively eating or drinking. Kennedy Center’s complete COVID Safety Plan is  here .

SEE ALSO: How ‘Hamilton’ Is Remaking American History By Renee C. Romano and Claire Bond Potter Who Were the Schuyler Sisters? Fact and Fiction in ‘Hamilton’ By L.M. Elliott 

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I saw the production on August 6th and loved it. But the actresses you list as playing Eliza and Peggy were not in the production, or listed in the program as playing those roles — were they understudies for a different performance?

Thanks for catching that. Yes, at the performance reviewed, Eliza and Peggy were played by understudies, and the text has been edited to make that clear.

How long is the performance?

Approximately two hours 45 minutes, with one 15-minute intermission.

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Hamilton tour review – an urgent production as America needs heroes to rise up

With the US in flux, Hamilton continues to provide a much-needed sense of hope

DeAngelo Jones, Shaq Taylor, Billy Nevers and KM Drew Boateng in Hamilton. Photo Danny Kaan

A Super Tuesday is guaranteed when you get to visit the theatre mid-week, but the press night of Hamilton in Edinburgh coinciding with the biggest day of the forthcoming US election so far brought extra resonance to the show.

The phenomenon from Lin-Manuel Miranda retells the otherwise largely forgotten story of the first US Secretary of the Treasury. Hamilton is steeped in musical theatre tradition, revitalised by hip-hop and deceptively simple staging. The choreography, costumes and set are clinically efficient and effective.

Frequently lauded as the most significant production of the century, that only stays true if its resonance and relevance endures and renews. The performance in Edinburgh, the first time Hamilton has gone on the road in the UK, confirms that to be the case.

The nine-week run in the capital is practically sold out so be ready to beg, steal, borrow or barter for a ticket. Of course, it’s a homecoming of sorts. The founding father had a Scottish father and no doubt the audience could make a claim that some of Hamilton’s canny determination and indefatigable rebelliousness derives from local roots. Maybe too some of his arrogance and self-sabotaging tendencies.

There may be a flawless pro-shot version with the original Broadway cast readily available, but the young and hungry (but not scrappy) touring cast are bursting with urgent energy.

Shaq Taylor is so convincing as a youthful Alexander Hamilton at 19, you initially wonder if he can carry the character through the next three decades of his life, but the transformation over the subsequent two and a half hours is remarkable. Taylor leans into the character’s defiant impulsiveness, with a charm that brings you along with him, even as Alexander succumbs to the more complicated side of his nature.

Aaron Burr provides the backbone of the show. Sam Oladeinde brings a tightly wound composure to the complex character. Maya Britto as Eliza is angelic, making her husband’s transgressions more tragic, Aisha Jawando brings sass to her sister Angelica and Gabriela Benedetti shines especially brightly as Peggy/Maria Reynolds.

In dual roles, KM Drew Boateng is mischievous and growly as Hercules Mulligan/James Madison, DeAngelo Jones stirringly heartbreaking as John Laurens/Philip Hamilton and Billy Nevers effortlessly charismatic as the Maquis de Lafayette/Thomas Jefferson.

Charles Simmons as George Washington is a stand-out, bringing stately dignity to the role, enjoying sparky chemistry with his righthand man and mentee Alexander. And Daniel Boys goes down a reliable storm as King George.

• Lin-Manuel Miranda: ‘There are lessons in chasing what scares you’
• How Alex Lacamoire keeps the beat of Lin-Manuel Miranda’s music

The intensity and urgency and sheer relentless energy on show is often goosebump-raising. By the climax, a wave of emotion swells. It’s a feeling increasingly rare these days – one of hope. Hope that change can come, one person can make a difference, that we can remake the world anew.

The conceit of Hamilton is that it’s “America then, told by America now”. But America now is in flux. Maybe this has ever been the case. After the show, Super Tuesday news notifications relate that Trump has all but secured the Republican nomination and a rematch of the relics with Biden is on the cards.

When it comes to the delivery of the American dream, we’re still waiting for it. America, the great unfinished symphony, has never been more in need of the voices Hamilton inspires to rise up.

Hamilton plays at Edinburgh’s Festival Theatre until 27 April then continues its tour around the UK and Ireland. For dates visit hamiltonmusical.com

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‘Hamilton’ (Theater Review)

Sick of saying “Happy Holidays” year after year? Clevelanders now have the option of greeting each other with “Happy Hamilton,” at least in the vicinity of Playhouse Square. After all, are we not happy that the play is in town for the duration of the holiday season?

The Tony Award-winning masterpiece by Lin-Manuel Miranda , which follows the life of founding father Alexander Hamilton, became an instant phenomenon upon its Broadway debut in 2015. Too often, this reviewer finds himself disappointed by over-hyped entertainment pieces. Nothing could possibly be as hyped up as ‘Hamilton,’; nothing could have not only met but EXCEEDED said hype the first time I saw ‘Hamilton’ in 2018!

Fast forward to December 2022, ‘Hamilton’ has made its triumphant return to Cleveland (with performances through January 15). There are currently three touring versions of the production, with the ‘Phillip Tour’ cast arriving here in Northeast Ohio. It goes without saying that no performer earns a spot with ‘Hamilton’ unless they ooze with talent. Collectively, this troupe is as top-notch as I have ever witnessed in any production. It is nothing short of a miracle that the stage didn’t collapse trying to support the weight from all of the talents it is holding.

For the uninitiated, ‘Hamilton’ tells the story of the country’s founding fathers, highlighting the influences of polarizing historical figures including Thomas Jefferson, Aaron Burr, George Washington, James Madison, and even King George III. (And, of course, the play’s namesake Alexander Hamilton!)

Often described as a HIP-HOP musical, that label is somewhat lacking in accuracy. Sure, most of the numbers have a strong beat to them, fast-moving dialog, witty rhymes, and clever timing. But, as a Popular Music critic by trade, it’s difficult to pigeonhole these tunes as HIP-HOP. The show also contains many traditional powerful vocal numbers that are on par with most popular musicals. For those not hip to the HIP-HOP, don’t be scared to give ‘Hamilton’ a try.

The show beings abruptly. After a (very) minimal pause after the houselights go down and without an overture, the booming early notes welcome Aaron Burr ( Jared Dixon ), who sings the opening stanza, followed by the other top-billed members of the cast and eventually the ensemble, who trade off lines that basically spoils the entire story of the play (including the bombshell that Burr is the “damn fool” that shoots Hamilton near the end.) Traditional theater etiquette is partially discarded (as it should be for this particular show) with raucous cheers to the opening notes and upon the entrance of select cast.

Alexander Hamilton’s first big number, “My Shot,” immediately showcases the skills of Pierre Jean Gonzalez in the titular role. He sings of being “young, scrappy, and hungry” and declares he is not throwing his shot. Immediately, it is clear that Gonzalez interprets his character differently than his predecessors, including role originator and show creator Lin-Manuel Miranda. He made the character his own with different mannerisms and voice inflections; not at all trying to mimic nor imitate Miranda’s stylings.

The Schuyler sisters, daughters of Senator Philip Schuyler, were introduced early on. Eliza ( Nikisha Williams ), who would marry Hamilton later in Act One, alongside Ta’Rae Campbell in the role of Angelica, dazzled from the moment they took the stage. Williams’ powerful vocals, at minimum, equaled original cast member Phillipa Soo, and she had one of the most impressive performances in Act Two with “Burn.”

Early Act One highlights include a performance from Neil Haskell in the role of King George. The audience-favorite performance of “ You’ll Be Back” had almost everyone laughing out loud at the cleverness of the lyrics and Haskell’s knack for both overt and subtle comedic shenanigans. Haskell would return for two more numbers later in the show which drew equally hearty laughter.

Also in Act One, we are introduced to Marcus Choi in the role of George Washington, who showcases his pipes on “Right Hand Man” and later in Act Two with “One Last Time.”

Showstopper “Yorktown” features several of the leads and left audience members’ hearts pounding. It’s darn near impossible for this writer to pick a favorite song from Act One, but this definitely receives an honorable mention (at the very least).

Act Two begins equally as abruptly as the start of the show, with some patrons still scurrying back to their seats when the cast returned to the stage.

The true show-stealer of this performance of ‘Hamilton’ is Warren Egypt Franklin , who played the role of Marquis de Lafayette in Act One and returned as Thomas Jefferson in Act Two. He kicked off Act Two with “What’d I Miss,” which showcased his versatility with his ability to switch characters on a dime.

The 2015 graduate of Cleveland Metropolitan School District made his hometown proud. While attending Baldwin Wallace University, Franklin took a trip to see the original Broadway cast in New York City and was fortunate enough to have backstage access after the show. When face-to-face with Lin-Manuel Miranda, he prophesized that he was going to play this role in ‘Hamilton’ once he graduated. Miranda told him to keep his vigor. By golly gee whiz, his dream came true!

Franklin turned to the small screen in a recurring role on the Hulu series Grownish during the pandemic shutdown prior to rejoining ‘Hamilton’ upon theaters reopening. At 25 years young, this Northeast Ohio native is only getting started. Mark my words: bigger and better things are to come for Franklin.

Read our interview with Warren Egypt Franklin

Other than the aforementioned “Burn” and “One Last Time,” the award for the top highlight of Act Two is given to “The Room Where It Happens.”

‘Hamilton’ gives insight into both the good and nasty sides of the founding fathers. Infidelity, blackmail, backstabbing, and collusion all take place in Act Two. Set at the beginning times of the United States, it seems as though the early leaders, Hamilton included, set the tone for politicians’ behaviors from then to the present day! (Am I wrong?) Alexander finds himself caught in a love affair, which leads to all sorts of trouble for him and kills his chances of ever becoming president.

The creative set design, complete with folding staircases and a rotating circle (Lazy Susan style) in the center of the stage helps characters seemingly move as quickly as the dialog. The rotating centerpiece is especially effective during one of the show’s final scenes where Hamilton meets his end during his still-talked-about duel with his friend-turned-foe, Burr.

The performances are so great in this show that the costume design and choreography, which would be standouts in any other show, seemingly are taken for granted by most theatergoers. Speaking of being taken for granted, my goodness, what can be said about this troupe’s ensemble? The strong vocal performances and dancing are also overshadowed, but not lost on this reviewer. It won’t be long before these performers deservingly land named roles.

Bravo to this incredible show! Don’t throw away your shot to be in the room where it happens. Limited tickets remain for performances through January 15.

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Feb 06, 2018

About this production.

• Production Staff
• Opening Night Cast
• Current Cast
• Replacements
• Songs music by Lin-Manuel Miranda ; lyrics by Lin-Manuel Miranda Act 1 Alexander Hamilton My Shot The Story of Tonight The Schuyler Sisters Farmer Refuted You'll Be Back Right Hand Man Helpless Satisfied Wait for It Stay Alive Ten Duel Commandments That Would Be Enough History Has Its Eyes on You Yorktown Dear Theodosia Non-Stop Act 2 What'd I Miss Take a Break Say No to This The Room Where It Happens Schuyler Defeated Washington on Your Side One Last Time The Adams Administration Hurricane The Reynolds Pamphlet Burn Blow Us All Away It's Quiet Uptown The Election of 1800 Your Obedient Servant The World Was Wide Enough Finale
• Current and Future

Engagement Dates

City and state.

Tours To You

Your home for information about the touring broadway productions in north america, hamilton (philip).

♦ Rescheduled from the 2022/2023 season

• ‡ Part of venue’s 2021/2022 season
• Combined Tour
• Angelica Company
• And Peggy Company

Note: For the best experience, rotate your phone to landscape mode.

• Philip Company

• Runtime : 2 hours 45 minutes
• Intermissions : 1
• Age Recommendation : 10+

Hamilton  is the story of America then, told by America now. Featuring a score that blends hip-hop, jazz, R&B and Broadway,  Hamilton  has taken the story of American founding father Alexander Hamilton and created a revolutionary moment in theatre—a musical that has had a profound impact on culture, politics, and education. With book, music, and lyrics by Lin-Manuel Miranda, direction by Thomas Kail, choreography by Andy Blankenbuehler, and musical supervision and orchestrations by Alex Lacamoire,  Hamilton  is based on Ron Chernow’s acclaimed biography. It has won Tony®, Grammy®, and Olivier Awards, the Pulitzer Prize for Drama, and an unprecedented special citation from the Kennedy Center Honors.

HOW TO ENTER

• Use the official app for Hamilton , now available for all iOS and Android devices in the Apple App Store and the Google Play Store ( http://hamiltonmusical.com/app )
• You can also visit http://hamiltonmusical.com/lottery to register.
• The lottery will open at 10:00 AM every Friday and will close for entry at 12:00 PM the next Thursday prior to the following week’s performances.
• Winner and non-winner notifications will be sent between 12:00 PM and 4:00 PM every Thursday for the upcoming week’s performances via email and mobile push notification. Once notified, winners will have one hour to claim and pay for their ticket(s).
• Lottery entrants can share about the show on their Twitter, Facebook, and/or Instagram accounts to gain an additional lottery entries per platform.
• No purchase or payment necessary to enter or participate.
• Each winning entrant may purchase up to two (2) tickets.
• Only one entry per person, per performance. Repeat entries and disposable email addresses will be discarded.
• Lottery tickets may be picked up at will call beginning 2 hours prior to the performance with a valid photo ID. Lottery tickets void if resold.
• All times listed are in the local time zone.

ADDITIONAL RULES

• Patrons must be 18 years or older and have a valid, non-expired photo ID that matches the name used to enter.
• Tickets are non-transferable. Ticket limits and prices displayed are at the sole discretion of the show and are subject to change without notice.
• Lottery prices are not valid on prior purchases. Lottery ticket offer cannot be combined with any other offers or promotions.
• All sales final – no refunds or exchanges. Lottery may be revoked or modified at any time without notice. A purchase will not improve the chances of winning.

• Original Broadway Cast Album
• Sheet Music (Vocal Selections)
• Alexander Hamilton
• The Schuyler Sisters
• You’ll Be Back
• Wait for It
• That Would Be Enough
• Guns and Ships
• History Has Its Eyes on You
• Dear Theodosia
• What’d I Miss
• The Room Where It Happens
• Washington on Your Side
• One Last Time
• It’s Quiet Uptown

We are a participant in the Amazon Services LLC Associates Program and the Sheet Music Direct Affiliate Program, affiliate advertising programs designed to provide a means for us to earn fees by linking to affiliated sites.

• # Rescheduled from the 2020/2021 season
• + Rescheduled from the 2021/2022 season
• ^ Rescheduled from 2019/2020 season
• ^ Rescheduled from the 2019/2020 season
• # Rescheduled to the 2021/2022 season
• + Rescheduled to the 2022/2023 season
• * Shows from 14 March–17 May 2020 were cancelled
• ^ Rescheduled to the 2020/2021 season
• # Rescheduled to the 2021/2022 season

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UK and Ireland Tour

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NORTH AMERICAN TOUR CAST

Marcus Choi

George Washington

Tyler Fauntleroy

John Laurens/Philip Hamilton

Deon’te Goodman

Neil Haskell

King George III

Jared Howelton

Marquis de lafayette/thomas….

Lencia Kebede

Angelica Schuyler

Marcus is so thankful for his return to stage. After all the historic difficulties of 2020–2021, he is most thankful for his health and the health of his family. Broadway : Flower Drum Song revival (OBC), Wicked (OBC), Sweet Charity revival, The Times They Are A-Changin’ (OBC), Allegiance (OBC), Miss Saigon revival. Recent TV: FBI , Homeland , Luke Cage , Blindspot , Chicago PD , The OA .

Select credits: Tambo and Bones (Playwrights Horizons/CTG), Looking for Leroy (New Federal Theatre), Fences (Pennsylvania Shakespeare Festival), The Tempest (Hudson Valley Shakespeare Festival), The Most Spectacularly Lamentable Trial of Miz Martha Washington (Hudson Valley Shakespeare Festival), 1 Henry IV (Folger Theatre), Next to Normal (Syracuse Stage). TV: “Succession,” “FBI,” “The Oath.” To God be the glory!

NYC-based actor, recording artist (known as Nafis), and vocal coach. Broadway: Hamilton (u/s Burr, Washington, Mulligan/Madison). Regional: Sweeney Todd , In the Heights , Songbird . Nafis has been a vocal supervisor in studio sessions with many artists, including MJ Rodriguez (“Pose”). Always showing BIG LOVE to my family, music teachers/mentors, and Wolf Talent Group. 

Broadway: Hamilton (Original Cast), Bring It On (Steven), Tuck Everlasting , Cinderella , 9 to 5 , The Times They Are A-Changin’ . Off-Broadway: Altar Boyz (Luke). TV/Film: Station 19 , Glee , So You Think You Can Dance , Jersey Boys , Rock of Ages , The American Mall . Thanks and love to my family!

Marquis de Lafayette/Thomas Jefferson

Broadway: Hamilton (Principal Standby). Broadway Tours: Hamilton A nd Peggy Tour & Angelica Tour (Laurens/Philip). International: Shrek the Musical (Donkey). Off-Broadway: Urinetown (Bobby Strong). He is not able to do this without the love and support of his family, agents at Stewart Talent, and manager Michele Largé. Praise God!

L.A. native, Ethiopian by descent; degree in Diplomacy and World Affairs; and lover of animals, Domino’s pizza, and vulnerability. Joined Hamilton in July 2019 and can confirm it has changed my life for the better. Previous work adventures include Tokyo Disneyland, the International Tour of Rent , Sister Act , and singing backup for Beyoncé Knowles Carter. Grateful for the gift of exploration.

Blaine Alden Krauss

Alexander Hamilton

Eddie Ortega

Hercules Mulligan/James Madison

Peggy Schuyler/Maria Reynolds

Nikisha Williams

Eliza Hamilton

Adam Ali-Perez

Universal Swing

Jisel Soleil Ayon

Honored to be rejoining the Phillip tour, where he previously was the standby for Hamilton/Burr. Broadway:  The Great Comet of 1812 ,  Kinky Boots ,  The Cher Show . Tour: Disney’s  The Lion King . TV: “Pose.” Presidential Scholar in the Arts and CCM graduate. Love to my family and Nicolosi!

Orlando native. Eddie is thrilled to begin his Hamilton journey with the Philip Tour. Bachelor of Music, FSU. Much love to his family, friends, and Luna. Huge thanks to Stefanie Talent, Telsey, and the entire Hamilton  family.

She/Her Broadway: Hair . Tour: Hamilton (Philip Tour, LA Company), Hair (First National), Mamma Mia! (Las Vegas), … Spelling Bee (Chicago). Off Broadway/Regional: Carrie (MCC Theater), Dogfight (Second Stage Theater), Life After (Goodman Theatre). B.F.A., U of M. Love to Mom, friends & RS. Big thanks to KMR, Telsey, and the Hamilton  team.

Nikisha is originally from Mobile, AL. Broadway Tour : The Color Purple . Regional: The Color Purple , Memphis , Hairspray . Master’s in choral conducting. Bachelor’s in vocal performance. Romans 8:28.

Regional: West Side Story (A-Rab, Guthrie Theater). Education/Training: Fiorello H. LaGuardia HS, BFA from SUNY Fredonia. Much love to my family and friends for their support!

Jisel was recently seen as Jenna in Waitress (Second National Tour). Additional credits: Hunchback... (Esmeralda), Les Misérables (Cosette), The Addams Family (Wednesday). Huge thanks to KMR, family, and friends.

Travante S. Baker

Amanda Braun

Allie Jordan Butcher

Stephen Carrasco

Yossi Chaikin

Thrilled to be joining Hamilton ! Credits: Wicked (National Tour) , West Side Story (International Tour), Soul: The Stax Musica l (Baltimore Center Stage), The Music Man , Joseph… , Mamma Mia! (Flatrock Playhouse). Thanks to family, friends & CTG.    

Credits: Hamilton (First National Tour, Original Cast). Tours:  Catch Me if You Can ,  Joseph…Technicolor Dreamcoat ,  Elf . TV: “Last Week Tonight” (HBO), “The Gilded Age” (HBO), “Harlem” (Amazon), “SNL” (Asst. Choreo.). BFA in MT, Pace.

Queens native honored to join the HamFam! Tour: Cats (Rum Tum Tugger); BFA, MT Pace U; LaGuardia HS alum. Heartfelt thanks to my family, friends, CTG, Telsey, and the Hamilton team. 

Thrilled to join the Philip Tour of Hamilton !   This is her first National Tour/Broadway debut. Thanks to her teachers, friends, family, and to all who believed in her.

Stephen Carrasco has appeared in nine Broadway shows and two tours. He’d be lost without his incredible husband Lee, Odie, and his chosen family. Huge thanks to MSA, Telsey, and this iconic production.

Broadway debut! Born, raised, and trained in Israel. Graduate of The Juilliard School, BFA Dance. Original Cast: #HamChi #HamLA. Credits: Joseph…Dreamcoat (Nat’l Tour).

Andrew Chappelle

John Devereaux

Nicole deRoux

Victoria Fiore

Lili Froehlich

Cyndal Gilmore

BROADWAY: Hamilton (Original Broadway Cast), Mamma Mia. TOUR: Priscilla Queen of the Desert. OFF BROADWAY: Hamilton (Public Theatre) TV/FILM: Scotty in Blindspotting (Starz!), Jlo in Escape at Dannemora (Showtime).

Grateful! International: Rent (20th Anniversary Tour), Dreamgirls . Regional: Spamilton (Center Theatre Group). Thanks to Mom, Avalon Artists Group, and Telsey + Co. for believing in me. 1 John 4:12

Nicole is originally from Westfield, N.J. She is a graduate of Drexel University’s Lebow College of Business. Hamilton is her national tour debut, and she is thrilled to be back performing with Philip Tour as “The Bullet.” So many thanks to my Mom, Dad, friends, family, and CTG.

Victoria Fiore is over the moon. Off-Broadway:  Only Gold . Regional:  Fly  (La Jolla Playhouse). TV/Film: “Fosse/Verdon” (FX) , “ Evil”(CBS) , Your Monster . Proud grad of Pace University and LaGuardia HS. Big s/o to The Telsey Office, my team at CESD, Justin, Steven, Steph, and Andy B. Big love always to Mom, Dad, and G.

Delighted to be here! Broadway:  Cats . Tours:  Hamilton ,  Joseph…Dreamcoat . Lili is originally from Fort Worth, Texas, and is a graduate of Otterbein University. Love to Vanessa, Mom, Dad, and the HamFam!

A Maryland native, Cyndal attended Peabody Preparatory. Towson, BFA Dance. Tuachan2018. Happy to be joining the HamFam! Love and grace to my family, and all the honour to God!

Devin Tyler Hatch

Swing, Dance Captain

Tristan Hill

Jimmie “J.J.” Jeter

Universal Standby

Marcus John

Dharon Jones

Ashley LaLonde

Grateful to be a part of the HamFam. Credits: Cats North American Tour, Newsies (Village Theatre), “Evil Lives Here” (Investigation Discovery). Much love to my friends and family!

Film/TV: A Jazzman’s Blues , Christmas on the Square , “ Christmas in Rockefeller Center with Mariah Carey.” Stage: Radio City Christmas Spectacular . Regional: Once on This Island . Gratitude to God & family.

Stage: Hamilton (Broadway, Chicago, Original Production in Australia), Fences (Pioneer Theatre Company), Romeo and Juliet (STC). TV: “The Chi” (Showtime). Training: The Juilliard School. This performance is dedicated to the memory of the greatest artist I know, my Aunt Badia.

International Tours: Rent (Benny, 20th Anniversary Tour), Mamma Mia!. NYC: iLLA (NYMF). TV: Harlem (Amazon). Big ups DGRW! For the love of hip-hop, intelligent movement. Pray often, worry not!

BK native. Broadway: West Side Story (Riff, 2020). Off-Broadway: Soft . Film/TV: Saturday Church , Champions , Rittenhouse Square , “Blue Bloods,” “Unbreakable Kimmy Schmidt,” Olga Dies Dreaming . BFA, Ithaca College. Love to family, Calli Company, Buchwald Talent, Telsey, and Hamilton  creatives.

Tour debut! Recent Harvard graduate & native New Yorker. Theater: Punk Rock Girl , Next to Normal , The Black Clown ,  Burn All Night . Love to Noah. 1 John 4:16

Vanessa Magula

Taeko McCarroll

Tyler McKenzie

Kameron Richardson

Bella Rusli

Tour:  Waitress . Proud UCLA alumna. Love and gratitude to Andrew, Ari, Trevor, Binta, friends and family, DDO, and the  Hamilton  team!

Honored to be the first Asian cast as “The Bullet” in Los Angeles. Credits: Gwen Stefani, Rihanna, MTV’s America’s Best Dance Crew season 1, Glee , Curb Your Enthusiasm , Dancing with the Stars . Thanks Mom, Dad, Stephanie, Andy, Lac, Jeffrey, TK, Telsey, Jennie.

Tyler is a proud original cast member of the Philip Company. Broadway/National Tours: Hamilton , Matilda , Mamma Mia! Regional: Escape to Margaritaville (Jamal, Ogunquit), Memphis (NCT), Mamma Mia! (MUNY), Rocky Horror Show (Bucks County). BFA in Musical Theatre from Western Carolina University. Endless love & gratitude to Mom, Dad, CJ, Dallin, DGRW.

Kameron is beyond grateful to join the Hamilton family. Credits: Aladdin (U.S. National Tour), The Muny, Pittsburgh CLO, Wallis Annenberg, Ensemble Theatre Cincinnati. Much love to family and friends!

Originally from Dallas, Texas, and graduated from Boston Conservatory at Berklee with a BFA in Dance. Previously a Swing in  Hamilton (Angelica Company), Bella is super grateful to be in her second Hamilton  company as a Swing and Dance Captain! A dream come true, y’all! All the love and thanks to my amazing family and everyone who has been on this journey with me.

Nick Sanchez

Anthony Santos

Broadway: Rent , Tarzan , Mary Poppins , Escape to Margaritaville . Off-Broadway: Altar Boyz . Marymount Manhattan College, BFA. Proud AEA member. Love to friends, family, BLOC, and Telsey + Co. #lifeisgood #dontforgettoplay

NYC-born. Training: Rosie’s Theatre Kids, led by Lori Klinger. UNCSA graduate. Former member of Dance Theatre of Harlem, led by Virginia Johnson. Previous collaborator with New York City, Houston, Miami City, and Pittsburgh Ballets.     

CREATIVE TEAM

Lin-manuel miranda.

Book, Music, and Lyrics

Pulitzer Prize, Grammy, Emmy and Tony Award-winning songwriter, actor, producer and director. Creator and original star of Broadway’s Tony-winning Hamilton and In the Heights . Additional Broadway: Freestyle Love Supreme (2020 Special Tony Award, co-creator/producer/guest performer) , Bring It On: The Musical (co-composer/co-lyricist, Tony nomination for Best Musical) and West Side Story (2009 revival, Spanish translations). Recipient of the 2015 MacArthur Foundation Award, the 2018 Kennedy Center Honors, and the 2019 Portrait of a Nation Prize. Emmy Award winner with Tom Kitt for their song “Bigger” from the 67th Annual Tony Awards. Mr. Miranda and The Miranda Family actively support initiatives that increase the representation of people of color throughout the arts and government, that ensure access to women’s reproductive health, and that promote resilience in Puerto Rico. TV/Film : Vivo , In The Heights , Hamilton , His Dark Materials , Fosse/Verdon , Curb Your Enthusiasm (2018 Emmy nomination), Saturday Night Li ve (2017 Emmy nomination), We Are Freestyle Love Supreme ; Siempre, Luis ; Sesame Street , The Electric Company , House , DuckTales , 200 Cartas , The Odd Life of Timothy Green , Moana (Grammy Award for Best Original Song), and Mary Poppins Returns . Fall 2021 releases: Disney’s Encanto and Netflix’s Tick, Tick… BOOM! (film directorial debut). For Vanessa, best of wives and best of women.

Thomas Kail

Broadway directing credits include  Sweeney Todd  (upcoming), Hamilton , Freestyle Love Supreme ,  In the Heights ,  Lombardi , and  Magic/Bird . Off-Broadway selected directing credits include the world premieres of Hamilton , Dry Powder ,  Tiny Beautiful Things , and  Kings  at The Public Theater; the world premiere of  The Wrong Man  at MCC Theater; the world premiere of  In the Heights ;  Broke-ology  and the world premiere of  When I Come to Die at Lincoln Center Theater; and the world premiere of Daphne’s Dive  at Signature Theatre. Broadway producing credits include  Derren Brown: Secret and  Freestyle Love Supreme . Television directing and producing credits include “Up Here” on Hulu (upcoming), “Hamilton” on Disney+, “Fosse/Verdon” on FX and “Grease: Live” on Fox. He is a recipient of a Kennedy Center Honor and a graduate of Wesleyan University.  

Andy Blankenbuehler

Choreographer

Mr. Blankenbuehler is three-time Tony Award winner for his choreography in the Broadway productions of Bandstand , In The Heights, and Hamilton, for which he also received London’s Olivier Award. Other Broadway credits include Bring It On , 9 to 5 , The People in the Picture , The Apple Tree , Annie , and the revival of CATS. Upcoming theatre projects include the new musical Only Gold with British singer/songwriter Kate Nash, The Secret of Santa Vittoria with writer John Weidman, and the new musical Five Points . Recently, Mr. Blankenbuehler’s work has been seen on the Emmy Award-winning FX series Fosse/Verdon , as well as the Universal Studio film of the musical CATS.   He made his concert debut with a piece entitled Remember Our Song for the Tulsa Ballet Company. As a performer, Mr. Blankenbuehler has danced on Broadway in Fosse , Contact , Man of La Mancha , Saturday Night Fever , Steel Pier , Big, and Guys and Dolls . Originally from Cincinnati, Ohio, Mr. Blankenbuehler resides in New York City with his wife, Elly, and two children, Luca and Sofia.  Mr. Blankenbuehler has received Dance Magazine and Drama Desk Awards for his achievement in the theatre, as well as the 2018 Kennedy Center Honors for his work on the musical Hamilton.

Alex Lacamoire

Orchestrations / Co-Arranger

Alex Lacamoire is a four-time Grammy, three-time Tony, and Emmy winner for his work on Dear Evan Hansen , Hamilton , In the Heights , and FX's mini-series Fosse/Verdon . His credits as music director, arranger, and/or orchestrator include: Message in a Bottle (London), The Wrong Man (Off-Broadway), Annie (2011 Broadway Revival), Bring It On , The People in the Picture , 9 to 5 (Drama Desk and Grammy noms), Legally Blonde , High Fidelity , Wicked , Bat Boy , and Godspell (2001 National Tour). He also serves as the Executive Music Producer for many films including The Greatest Showman (20th Century Fox), In the Heights (Warner Brothers) and the upcoming animation Vivo (Netflix), Dear Evan Hansen (Universal Pictures), and Tick, Tick...Boom! (Netflix). Love to Mom, Dad, Little Sis, and to his wife, Ileana.

Ron Chernow

Author of the book “Alexander Hamilton”

Ron Chernow is the prize-winning, best-selling author of seven volumes and the recipient of the 2015 National Humanities Medal. His first book, “The House of Morgan,” won the National Book Award; “Washington: A Life” won the Pulitzer Prize for biography; and “Alexander Hamilton” — the inspiration for the musical — won the George Washington Book Prize. He is one of only three living biographers to have received the Gold Medal in Biography of the American Academy of Arts and Letters. A past president of PEN America, Chernow has received eight honorary doctorates. He resides in Brooklyn, New York.

David Korins

Scenic Design

Broadway:  Here Lies Love ;   Hamilton  (Tony nomination);  Beetlejuice  (Tony nom);  Dear Evan Hansen ;  Mrs. Doubtfire ; War Paint  (Tony nom); Bandstand ; Misery ; The Great Society ;  Motown: The Musical ;  Vanya and Sonia and Masha and Spike ; Annie ; Bring It On ; Magic/Bird ;  An Evening With Patti LuPone and Mandy Patinkin ; Godspell ; Chinglish ; The Pee-wee Herman Show ; Lombardi ; Passing Strange ;  Bridge and Tunnel . TV: “Grease: Live!” (Emmy Award); 91st & 94th Academy Awards (Emmy noms); “Elton John: A Grammy Salute”; “Last Week Tonight” with John Oliver; “The Big Brunch”; Heisman Trophy Award ceremony. Creative Director: “ Immersive Van Gogh ”; “ Disney Animation Immersive Experience”; “ Hamilton: The Exhibition”; DiscOasis NYC; the Shoah Foundation; numerous collaborations with Sotheby’s  and TED. He has collaborated with David Blaine, Lady Gaga, Bruno Mars, Mariah Carey, and Andrea Bocelli. Extensive theater, hospitality, event, and experience design. Dad: Stella & Vivian.

Paul Tazewell

Costume Design

Received an Emmy Award for costume design of The Wiz! Live and a Tony Award for costume design of Hamilton . Film: West Side Story , directed by Steven Spielberg upcoming release (20th Century Studios); Hamilton (Disney+); Harriet (Focus Features); The Immortal Life of Henrietta Lacks , starring Oprah Winfrey (Cine Mosaic/HBO). Broadway: In the Heights (Tony nomination); The Color Purple (Tony nomination); Memphis (Tony nomination); Bring in ‘Da Noise, Bring in 'Da Funk (Tony nomination); Side Show ; A Streetcar Named Desire (Tony nomination); Caroline, or Change ; Elaine Stritch at Liberty; Doctor Zhivago . TV: Jesus Christ Superstar Live in Concert for NBC, starring John Legend.

Howell Binkley

Lighting Design

Broadway: Ain’t Too Proud: The Life and Times of The Temptations (2019 Tony nomination), Come From Away (2017 Tony nomination), Hamilton (Tony Winner), Allegiance , After Midnight (2014 Tony nomination), How to Succeed in Business Without Really Trying (2011 Tony nomination), West Side Story (2009 Tony nomination), In the Heights, (2008 Tony nomination), Jersey Boys (2008 Tony winner), Avenue Q , The Full Monty , Parade , Kiss of the Spider Woman (1993 Tony nomination/Olivier and Dora winner). Co-founder/resident lighting designer: Parsons Dance.

Nevin Steinberg

Sound Design

Broadway: Sweeney Todd (2023 Revival, Tony Award), Tina: The Tina Turner Musical (Tony nomination), Hadestown (Tony Award), Hamilton , Dear Evan Hansen , Freestyle Love Supreme , The Cher Show , Bandstand , Bright Star , It Shoulda Been You , Mothers and Sons , Rodgers + Hammerstein’s Cinderella (Tony nomination) , The Performers , Magic/Bird . Over thirty Broadway productions with Acme Sound Partners and five additional Tony nominations: The Gershwins’ Porgy and Bess , Bengal Tiger at the Baghdad Zoo , Fences , Hair , In the Heights .

Charles G. LaPointe

Hair and Wig Design

Charles G. LaPointe is an award-winning Wig and Hair Designer. Theatre: Numerous Broadway; Touring; Regional Theatre; West End and International productions, including: Hamilton (Make-Up Artists & Hair Stylist Guild Award); Ain’tToo Proud ; Beautiful: The Carole King Musical ; Beetlejuice ; The Cher Show (Drama Desk Award); The Band’s Visit ; Anastasia ; SpongeBob SquarePants (Drama Desk Award); Jersey Boys ; A Gentleman’s Guide to Love and Murder ; The Color Purple ; Newsies ; In the Heights.  Television: The Wiz Live! (Emmy Nomination ) ; Jesus Christ Superstar Live! (Emmy Nomination and Make-Up Artists & Hair Stylist Guild Award); Blue Bloods ; American Crime ; Maddoff ;  Hairspray .

Michael Keller and Michael Aarons

Music Coordinators

Broadway: & Juliet , Moulin Rouge! , Hamilton , Dear Evan Hansen , The Lion King , Wicked , The Book of Mormon . Upcoming Broadway: The Devil Wears Prada . Off-Broadway: Kinky Boots , Little Shop of Horrors . Current tours: Moulin Rouge! , Hamilton , Dear Evan Hansen , Jagged Little Pill , Pretty Woman , Frozen .

Randy Cohen

Synthesizer and Drum Programmer

Randy Cohen has programmed more than 70 Broadway shows including Hamilton , The Book of Mormon , Dear Evan Hansen , Frozen , Anastasia , Pretty Woman , Kinky Boots , A Bronx Tale , Once on This Island (revival), Bring It On , Grey Gardens , Peter and the Starcatcher , and In the Heights . Keyboardist for TV’s “Sesame Street.”

Emmanuel Schvartzman

Music Director/Conductor

Broadway:  On Your Feet!  Off-Broadway:  Real Men  (New World Stages) .  Tour:  On Your Feet!  International:  Rent  (Havana, Cuba),  Carmen La Cubana  (Paris). Manny was born in Argentina and grew up in Miami. He has served as a music director, conductor, pianist, arranger, and orchestrator for more than a hundred productions. Love to the HamFam!

Matt Gallagher

Associate Music Supervisor

Broadway, Associate Conductor: Doctor Zhivago , Hands on a Hardbody , Jesus Christ Superstar (2012), 9 to 5 , Legally Blonde , High Fidelity . Off-Broadway, Music Director: Cymbeline (The Public), Tick, Tick... Boom! (Encores!), The Last Five Years (Second Stage). Training: Leite Music Studios, Adelphi University, Merce Cunningham.

Hudson Theatrical Associates

Technical Supervision

Over 100 Broadway productions and tours. Recent: Mrs. Doubtfire , American Buffalo , The Minutes , Hangmen , For Colored Girls Who Have Considered Suicide/When the Rainbow Is Enuf , Girl From the North Country , American Utopia , Hadestown , Hamilton , Aladdin . HTA is a member of Neil A. Mazzella’s Hudson family, which includes Hudson Scenic Studio, Bridget Van Dyke, Sam Ellis, Sean Gorski, Brianne Tabak, and Irene Wang.

Patrick Vassel

Associate and Supervising Director

Broadway: Hamilton , Freestyle Love Supreme (Associate Director), Magic/Bird (AD). Off-Broadway: Freestyle Love Supreme (Greenwich House), Hamilton (The Public Theater), Working (Prospect). Credits: In a Little Room (Ten Bones), Sorin , Six Characters in Search of an Author (Notre Dame), Welcome to the Gun Show (ANTFest), Nothing Left to Burn (O’Neill Semi-Finalist, Ars Nova ANTFest).

Resident Director

Death of a Salesman  (Associate Director);  Hadestown  (Associate Director);  Space Dogs  (Associate Director, MCC);  Kin  (Pipeline Festival);  Jump  (IU Theatre);  Everybody ,  Antigone  (Atlantic Theater/NYU);  Moby Dick  (Assistant Director; ART). Drama League Fellowship, SDCF Gielgud Directing Fellowship, Bret C. Harte Directing Fellowship, Victory Garden’s Directors Initiative, and the WP Directors Lab. Lucy Powis, A3

Stephanie Klemons

Associate & Supervising Choreographer

Drama Desk Award-winning performer and choreographer. Original Broadway companies: Hamilton , If/Then , Bring It On, In the Heights . Notable O ff-Broadway: Hamilton, In the Heights, Repo!... First national tours: Bombay Dreams , In the Heights, Bring It On . 

Michael Mindlin

Supervising Choreographer

Choreographer:  The Nice List  (Masie Productions),  Gypsy  (North Carolina Theatre), Xanadu  (ReVision Theatre),  Beauty and the Beast  (Northern Stage),  Awesomer and Awesomer  (The Triad Theatre),  All Hail the Queen  (The Cutting Room), numerous BC/EFA benefit concerts. Broadway performance:  Aladdin ,  Bring It On ,  Mamma Mia! ,  9 to 5 ,  Chitty Chitty Bang Bang . Faculty at Broadway Dance Center and STEPS.

Desmond Nunn

Dance Supervisor

Hamilton Deutschland (Assistant Choreographer), Hamilton Angelica Tour (Dance Captain/Swing, John Laurens/Philip Hamilton Cover, Dance Supervisor). Huge thanks to the HamFam past and present, and his family, whose love and support fuel him daily. Stream his debut single, “My Mind,” on Apple Music, Spotify, and Tidal.

Maggie Brohn

Executive Producer

J. Philip Bassett

Production Supervisor

Broadway: Hamilton , The Last Ship , A Night with Janis Joplin , Breakfast at Tiffany’s , Magic/Bird , The Miracle Worker , In the Heights , Grey Gardens , Lestat , The Glass Menagerie , Bombay Dreams , Hairspray , Neil Simon’s 45 Seconds from Broadway , Footloose , The Scarlet Pimpernel and others.

Jimmie Lee Smith

Production Stage Manager

Jimmie Lee Smith comes directly from  The Outsiders , a new musical. Select Broadway credits: Disney’s  The Lion King ,  Aladdin ,  Mary Poppins , Kenny Leon’s  The Mountaintop  with Samuel L. Jackson and Angela Bassett. Select National Tours include  Saturday Night Fever ,  Jekyll & Hyde ,  Evita , and  Jesus Christ Superstar . He has also managed political and corporate events for Presidents Barack Obama and Bill Clinton, and for the MLK Memorial.

Aldora Neal

Assistant Stage Manager

Aldora Neal is a Brooklyn native and SUNY Purchase alumna blending her passions of stage management and dance. Broadway, Production Assistant:  Frozen ;  Caroline, or Change ;  Freestyle Love Supreme ;  The Cher Show ;  Once on This Island . Regional, Production Stage Manager:  Hedda Gabler  (IRT Theatre),  Radioactive  (Manhattan School of Music); Production Assistant:  Urban Retreat  (Public Theater). Dance: Project D, First Place,  Elements XV & XVI ;  Prelude New York ;  Defining Rhythm 2015 & 2016 . Aldora would like to dedicate each show to the company she keeps.

Rolando A. Linares

Stage Manager

Is excited to take Hamilton on the road. National tours: Wicked. Chicago sit-downs: Hamilton, Wicked . Regional: Several productions at the Goodman Theatre and Chicago Shakespeare Theater. Born and raised in Panama, he is a graduate of The Theatre School at DePaul University. Proud member of Actors’ Equity.

Matthew Matulewicz

Broadway:  To Kill a Mockingbird ;  The Iceman Cometh ;  Meteor Shower;   Hello, Dolly! ;  Dear Evan Hansen ;  In Transit ;  Shuffle Along ;  School of Rock ;  Gigi . National Tours:  The Little Mermaid ,  A Gentleman’s Guide to Love and Murder ,  Beautiful: The Carole King Musical . BFA, UNCSA ’15.

The Telsey Office Bethany Knox, CSA

Broadway/tours: Beetlejuice ; Be More Chill ; Network ; The Cher Show ; The Prom ; American Son ; Pretty Woman ; My Fair Lady ; Mean Girls ; Frozen ; Anastasia ; Come From Away ; Waitress ; Kinky Boots ; Wicked ; Hello, Dolly! ; Charlie and the Chocolate Factory ; On Your Feet! Off-Broadway: Atlantic Theater Company, Classic Stage Company, MCC Theater, St. Ann’s Warehouse, Second Stage Theater. Film: Mary Poppins Returns , Ben Is Back , The Greatest Showman , Into the Woods , Rachel Getting Married . TV: “Rent: Live,” “Murphy Brown,” “This Is Us,” “House of Cards,” “NCIS: New Orleans,” “One Day at a Time.”

The Press Room

Press Representative

Broadway:  Hamilton ,  The Book of Mormon , and this season’s  Prima Facie  starring Jodie Comer. Off-Broadway:  Everything’s Fine ,  Hyprov ,  Fiddler on the Roof   in Yiddish . Institutions: The Acting Company, Antonyo Awards, Barrington Stage Company, Drama Book Shop, Hunter Theater Project, National Yiddish Theatre Folksbiene, NY Classical Theatre, Ogunquit Playhouse, Out of the Box Theatrics, Paper Mill Playhouse, Rosie’s Theater Kids, Shakespeare’s Globe, Vineyard Theatre, Waterwell, The Wooster Group. Upcoming:  Born for This ,  Grace ,  Invincible ,  Personality ,  Sidney ,  A Wonderful World ,  Working Girl The Musical .

Laura Matalon

Marketing and Communications

John Gilmour, Gabriella Godinez

Susan brumley.

Company Manager

Broadway: The Present starring Cate Blanchett, Sister Act, Bring It On: The Musical . National Tours: The Book of Mormon, Evita, Next to Normal, Yo Gabba Gabba, Hairspray, Eve Ensler’s The Good Body . Off Broadway: Natasha, Pierre, and The Great Comet of 1812. Australia: The Book of Mormon. To the revolution!

Brad Broman

Associate Company Manager

Broadway:  Hello, Dolly!  starring Bette Midler & David Hyde Pierce;  The Book of Mormon . National Tours:  Hamilton  (Philip),  The Book of Mormon ,  Dirty Dancing ,  We Will Rock You ,  Mary Poppins ,  La Cage aux Folles  starring George Hamilton & Christopher Sieber,  High School Musical  (Ryan),  Hairspray  (Brad, u/s Wilbur, MAF). GMA:  Jersey Boys ,  ELF ,  The Sound of Music . Pittsburgh Native. NYU-Tisch: BFA Musical Theatre. Proud Union Member, ATPAM.

Clarissa Po

Assistant Company Manager

So grateful and excited to be joining the Hamilton Philip Tour company, her first tour! Regional: “Celebrating the Black Radical Imagination: Nine Solo Plays” (Williamstown), Chester Theatre Company. Proud Smith College graduate and member of Baseline Theatrical’s Beyond the Stage Door inaugural cohort. New Jersey native. Forever thankful for the love and support of family and friends.

The Booking Group

Tour Booking Agency

Baseline Theatrical

General Management

Founded by Andy Jones in 2014 and joined by Nick Lugo, Baseline’s Broadway credits include Hamilton ; Sweeney Todd ; Fat Ham ; freestyle love supreme ; Pass Over ; Derren Brown : Secret ; The Cher Show ; The Great Comet ; The Last Ship . Off-Broadway: Audible Theatre at Minetta Lane, The Enigmatist . National Tours: Hamilton , freestyle love supreme . Recently established Beyond the Stage Door, a no-cost educational intensive created to prepare underrepresented undergraduates for theater management careers. 

Jeffrey Seller

Jeffrey Seller is the winner of four Tony® Awards for Best Musical: Hamilton  (2016) and  Rent  (1996), both of which won the Pulitzer Prize for Drama;  Avenue Q  (2004); and  In the Heights  (2008). He also produced  De La Guarda  (1998), Andrew Lippa’s  The Wild Party  (2000), Baz Luhrmann’s direction of Puccini’s  La Bohème  (2002),  High Fidelity  (2006), the 2009 revival of  West Side Story ,  The Last Ship  (2014),  The Cher Show  (2018),  Derren Brown: Secret  (2019), and the 2023 revival of  Sweeney Todd . He was executive producer of the NBC drama “Rise” (2018) and HBO’s “Coastal Elites” (2020). Jeffrey is a graduate of the University of Michigan.

Sander Jacobs

Received the Tony and Olivier Awards for Best Musical for the Pulitzer Prize–winning  Hamilton , and a Tony Award for  In the Heights . He recently served as executive producer of the  Hamilton  film and received an Emmy Award. He is a producer and/or investor for numerous Broadway, national, and international productions, such as  Les Misérables ,  The Phantom of the Opera ,  Grand Hotel ,  Follies ,  West Side Story ,  Bengal Tiger , and  The Last Ship .

Jill Furman

Broadway: Freestyle Love Supreme (Special Tony Award), Hamilton (Tony Award), In the Heights (Tony Award), Rodgers + Hammerstein’s Cinderella , The Heiress , Seminar , West Side Story , The Drowsy Chaperone , Sly Fox , and Fortune’s Fool . Jill is an Executive Producer of In the Heights and the Hamilton movie on Disney+, as well as a producer of the Hulu documentary We Are Freestyle Love Supreme . In 2011 Furman received the Robert Whitehead Award for Outstanding Achievement in Commercial Theatre Producing. Furman is on the board of the Freestyle Love Supreme Academy, the Lung Cancer Research Foundation, the Corporation of Brown University, and the President’s Advisory Council for the Arts at Brown.

The Public Theater

Premiered Hamilton on January 20, 2015, on the same stage where A Chorus Line premiered 40 years earlier. New York’s Public Theater continues the work of founder Joe Papp as an advocate for theater as an essential cultural force, leading and framing the important issues of our day. Programming includes new work, Shakespeare in the Park, Public Forum, Mobile Unit, Under the Radar, Public Studio, Public Works, Joe’s Pub. Recipient of 59 Tonys, 169 Obies, 53 Drama Desk Awards, 54 Lortel Awards, 32 OCC Awards, 6 Pulitzer Prizes.

‘Hamilton’ is back at The Bushnell: Everything…

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O.j. simpson dead at 76 after battle with cancer, news connecticut news, ‘hamilton’ is back at the bushnell: everything to know for its second ct showing.

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"Hamilton" is returning on tour to The Bushnell, and a couple of Hartford museums are welcoming it with exhibits about the show's 18th century inspirations.

The cast of the "Philip" tour of the hit musical "Hamilton." Lin-Manuel Miranda's historical hip-hop epic returns to The Bushnell June 22 through July 10.

Lin-Manuel Miranda’s massive hit musical “Hamilton” visits The Bushnell for a second time Wednesday through July 10. It’s only been four years since it was in Hartford, but a lot has happened since.

Seven years since its Broadway debut, “Hamilton” remains the biggest musical in the land. It is still playing on Broadway, with multiple tours still crisscrossing North America and standing companies in England, Germany and Australia.

The show chronicles the revolutionary rise and abrupt fall of Alexander Hamilton, the first U.S. Secretary of the Treasury who helped shape the early years of American self-government. Using hip-hop, modern dance and traditional theater styles, Miranda crafted the show from Ron Chernow’s scholarly biography of Hamilton.

Here are the big changes in “Hamilton” consciousness since the show last hit Hartford:

This should be its third visit

“Hamilton” was scheduled to come to Hartford again in December 2020. The excitement was so great for such a speedy return that the announcement was made in April 2019. The “Hamilton” rebooking was part of The Bushnell’s 2020-21 season but was used to goose ticket sales for its 2019-20 season, pushing the idea that existing subscribers would have first dibs on “Hamilton” seats when they renewed their subscriptions. Then COVID-19 struck. The Bushnell held onto the date as long as it could, but both the theater and the tour ended up on hiatus. As Bushnell executive director David Fay put it at the time, “We had to go to the back of the line” in terms of the “Hamilton” touring schedule, adding 18 months before the show could return.

Live stage recording released in 2020

A live stage recording of the Broadway production of “Hamilton,” starring Miranda, Leslie Odom Jr., Phillipa Soo, Daveed Diggs and the rest of the show’s original cast, was aired with great fanfare on Disney+ starting in July 2020. Up to that point, if you hadn’t seen “Hamilton” in a theater, you hadn’t seen it. A few numbers from the show were used in a 2016 PBS documentary, “Hamilton’s America,” and the cast performed “History Has Its Eyes on You” and “Yorktown” on the 2016 Tony Awards broadcast, but that was the first taste many people got of the show, which was completely sold out for years.

If you’ve heard the “Hamilton” Broadway soundtrack, you’ve heard the entire show. But experiencing the entire show, even on video, was difficult until Disney+ streamed it.

A separate film version of “Hamilton” is in the works.

Lin-Manuel Miranda moves on

Around the time “Hamilton” first visited Hartford, the movie “Mary Poppins Returns” was released, co-starring Miranda as Jack the lamplighter. Having previously worked with Disney as a songwriter on “Moana” and as the voice of Gizmoduck on “DuckTales,” Miranda has continued to work with the company, doing songs for “Encanto” and writing new songs for an upcoming live-action remake of “The Little Mermaid.”

Miranda’s pre-“Hamilton” hit, “In the Heights,” which won the Tony for Best Musical in 2008, became a major motion picture in 2021. Connecticut played a role in the show’s development. Miranda worked on it as a student at Wesleyan University in Middletown and later workshopped it at the Eugene O’Neill Theater Center in Waterford.

More recently, Miranda directed the film musical “Tick, Tick … Boom!,” adapted from the autobiographical theater show by “Rent” creator Jonathan Larson.

Onstage, Miranda and his longtime collaborator (and fellow Wesleyan alum) Thomas Kail reworked an improv project “Freestyle Love Supreme” as a Broadway show. The first national tour of the show was just announced.

New faces, new visions

Unlike a lot of Broadway shows, when new performers join “Hamilton” they are encouraged to find their own way in their role. When Lin-Manuel Miranda left the Broadway cast, others who took on the role of Alexander Hamilton put their own stamp on it. This goes for the ethnicity of the actors as well. “Hamilton” famously uses non-white actors to play white male historical figures, with the exception of King George III, the British monarch the incipient Americans are fighting against. While Manuel and his first Broadway replacement Javier Muñoz are Latino, several Black actors have also played the role.

This sense of independence had been established when Austin Scott played “Hamilton” on the 2018 tour that came to Hartford. Just a few months later, Scott was playing the title role in the Broadway production. He had an imposing physical stature that set him apart from Manuel and other Hamiltons and portrayed the character so strongly that comparisons with others were irrelevant.

In a review of the 2018 Bushnell stop, The Courant wrote, “You can find louder, faster, more bombastic ‘Hamilton’ companies out there. What this national tour may lack in urgency and reckless energy, it makes up for with grace and clarity. The ensemble moves smoothly as a single unit, accenting the action rather than overwhelming it.”

The tour coming to Hartford this month stars Pierre John Gonzalez as Hamilton, Jared Dixon as his friend-turned-assassin Aaron Burr, Warren Egypt Franklin as the speed-rapping Lafayette and Thomas Jefferson, Stephanie Jae Park as Hamilton’s wife Eliza, Ta’Rea Campbell and Paige Smallwood as Eliza’s sisters, Angelica and Peggy, Neil Haskell as King George III, Desmond Sean Ellington as Hercules Mulligan and James Madison and Elijah Malcolm as John Laurens and Philip Hamilton. Some, like Choi, are longtime veterans of the show, while others, like Malcomb, are new to it. Haskell was in the original Broadway company.

The tours are named for characters in the musical, and luckily there are lots of characters because there have been lots of tours. Hartford is getting the “Philip” tour.

Connecticut is ready for it

Connecticut was involved in the American Revolution “Hamilton” so excitingly dramatizes. A minor character in the musical, Samuel Seabury, was the first American Episcopal Bishop and the first Bishop of Connecticut. He’s buried in New London. There’s a large statue of Lafayette, a wartime ally of Hamilton’s, that has been outside The Bushnell since 1913.

While the musical is in town, there are special exhibits at major Connecticut museums providing local historical context for the show. “Hamilton Heroes and Villains” has been on display at the Connecticut Historical Society at 1 Elizabeth Street in Hartford since early May and will remain there through Aug. 28.

“Hamilton: The Art of Remaking History” is on view at the Wadsworth Atheneum and Museum, 600 Main Street, Hartford, from June 24 through Sept. 11. The exhibit demonstrates how artifacts from the 18th century inspired the fanciful costume and set designs for “Hamilton.” Many of the objects in the exhibit are from the Wadsworth’s permanent collection.

“Hamilton” runs Wednesday through July 10 at The Bushnell, 166 Capitol Avenue, Hartford. Performances are Tuesday through Thursday at 7:30 p.m., Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 1 and 7 p.m., with an added matinee Thursday at 1 p.m. $69-$266. There is also an online lottery for $10 tickets. bushnell.org .

Christopher Arnott can be reached at [email protected] .

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Philippines was the ‘natural choice’ for the Asian premiere of ‘Hamilton’

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This is AI generated summarization, which may have errors. For context, always refer to the full article.

HAMILTON MANILA. Cast members Darnell Abraham, Jason Arrow, Rachelle Ann Go, Akina Edmonds, and DeAundre' Woods during the show's press conference on September 20 at the Theater at Solaire.

YSA ABAD/Rappler

MANILA, Philippines – Theater enthusiasts and fans of Hamilton rejoiced when the award-winning musical announced that they were finally coming to the Philippines. Many thought it was about time the show be brought into the country, and the producers also agreed – even adding that the decision to bring Hamilton to Manila had been locked down a few years back. 

Saying that the show’s Asian debut has been a “long time in the making,” Michael Cassel, producer of the Hamilton international tour, recalled that he and original Broadway producer Jeffrey Seller had been talking about launching an international tour just shortly after the show premiered on Broadway.

“In fact, it was in September 2015 – about a month after the show debuted back on Broadway – that I met with Jeffrey in New York City. It was then when we started talking about plans for sharing this incredible musical with audiences around the world.” 

“He asked me, ‘Where do we start the show?’ And I said,  the only place to start the international tour would be the Philippines.” 

With book, music, and lyrics by Lin-Manuel Miranda, Hamilton tells the story of American founding father Alexander Hamilton through music that blends hip-hop, jazz, R&B, and show tunes.

Since it opened on Broadway in August 2015, it has won Tony, Grammy, and Olivier Awards, as well as the Pulitzer Prize for Drama. Aside from Broadway, the show was also brought to London’s West End, Australia, Germany, and New Zealand. 

For its Manila leg, Hamilton will be staged at the Theater at Solaire for more than two months between September 17 and November 26, with no further extensions possible. 

“We were overwhelmed with the responses that we received from the audiences here,” Michael told Filipino media in a press conference on Wednesday, September 20, sharing that a friend even told him that there were screams and cheers when the announcement for the Manila shows went live on social media. 

Michael said they’re “beyond thrilled” at how warm and enthusiastic the Filipino audience are with the shows, especially that they were a “little nervous but excited” when they made the announcement. For the producers, it’s proof that they made the right call in choosing Manila as the first stop for the show’s Asian premiere. 

“You have amazing audiences that embrace musical theater,” Michael said. “And so, it’s a natural choice that the company will be assembled for the very first time here in Manila.” 

For the Manila shows, Michael said that they assembled the “very best talent” from Hamilton talent productions from all over the world. Jason Arrow plays titular character Alexander Hamilton, DeAundre’ Woods is Aaron Burr, Akina Edmons is Angelica Schuyler, Darnell Abraham is George Washington, and the Philippines’ Rachelle Ann Go is Eliza Hamilton. 

Rachelle on reprising the role of Eliza

Calling it a “dream come true,” Rachelle told the Filipino press that she’s been hoping for Hamilton to come to the Philippines since she first played the role of Eliza Schuyler-Hamilton almost six years ago. Her performance there won her a Best Actress award from BroadwayWorld UK.  

“I was actually telling my friends that back in 2017, when I did this role in the West End, I had a feeling that Hamilton would be coming to the Philippines. For some reason, I just had the vision. And I told myself I’m going to do this role in the Philippines. And here I am, doing it in front of our kababayan (fellowmen.)”

“This is such a dream come true,” Rachelle said, adding that it’s “nice to be home” and with her family. 

Aside from playing for the Filipino audience, the actress also couldn’t help but get sentimental over how much she’s grown since she first portrayed Eliza.

“I believe I was a totally different person back then. Now, I am a mom of two,” she said. 

Relating her experience as a mom to a scene from the play that she feels strongly for, Rachelle said that she really gets emotional when she thinks of the death of her character’s son Phillip.

“Now, I don’t have to dig deeper before I approach the scene. I can be in that moment and feel all the emotions because I know how to be a mom. I know what a mom feels like.” 

Such takeaways, she explained, have also shaped her priorities in carrying her character.

“Before, I was just thinking that I need to sing this song perfectly. I need to hit the right notes. Now, it’s not about that. It’s about telling the story and sharing what the musical is about.”

The cast members on working with each other

Jason, who also previously played the lead character Alexander Hamilton in the original Australian cast, also talked about the importance of having a good relationship with other cast members.

“The show’s the same, the mood is the same, the music is the same. It can change fast depending on who’s playing that role though,” he said. 

Having experienced working with a different ensemble in the past, Jason emphasized how cast member changes also shaped his approach to portraying his role.

“It definitely changes how you interpret the show. It changes how your character evolves throughout the show. It’s not necessarily where the show is staged, and while that plays into it as well, but the people you’re doing with it matters. So my Hamilton and Eliza relationship is very different to what has been in the past,” he said. 

Rachelle echoed the sentiment, saying that prior to the opening of the Manila shows, they weren’t familiar with each other.

“We really didn’t have any relationship before. But onstage, it just happened. There’s chemistry, and being authentic, and just telling the story. That’s how I felt. And it was amazing. There was just a lot of trust,” she said. 

Jason disclosed that they only had a tech week to “get things together.”

“But there was a lot of trust. And I think we knew we had a job to do as well, and that’s what keeps you going. And having great scene partners across the board helps that. You really need to have open and honest people on stage.”

The Hamilton cast on the Filipino audience

Apart from Rachelle, it’s the other cast members’ first time in the Philippines. And while they’ve only been in the country for several weeks, they said that they’ve already felt how welcoming Filipinos are.

“So far, the people are incredible. They really want to make sure you’re accommodated in any way, shape, or form,” Akina said. 

Darnell, meanwhile, said that he’s looking forward to exploring more about the country’s rich music culture.

“The music culture here is extraordinary, which really inspires me,” he said. “Since this show is very musical and there’s a rich musical history and heritage here [in the Philippines], I think they will certainly connect quite well to the show.”

Aside from the country’s love for music, Darnell also disclosed that he’s “inspired by the resiliency found here in the Philippines,” and how it could resonate with the Hamilton viewers.

“I’m really struck by the history that we were able to share that’s not just unique to the United States, but is also, I think, unique here also in the Philippines,” he said. 

Agreeing, DeAundre’ highlighted that theater shows like Hamilton are not just “forms of entertainment, but also of education.”

“That’s what this show does – it challenges us to see things in different light, and to include the heart, and not just the external diversity.”

As for the performing for the Filipino audience, Rachelle admitted that it’s heartwarming to take the stage in her home country. 

“Filipinos are very polite. They’re into it. They’re absorbing every single word, every single scene. And just seeing their faces in awe makes my heart throb,” she said. “I guess that’s the difference between performing here and abroad. Just being home itself is already such a gift.” – Rappler.com

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Hamilton Stage Door

Philip tour cast.

It’s super helpful to be aware of standbys, understudies, and swings. Oftentimes they are more likely to stage door as they are not performing as regularly (and they’re all incredibly sweet I highly recommend trying to meet them!). Additionally, the cast changes day to day and even show to show (on two-show days), so don’t expect to see all your favs every time you stage door. There’s alway someone stepping in for someone on their day off - and they are just as amazing. 

I try to choose photos that best represent what the person looks like at the moment. Many headshots in the program are somewhat outdated and the black and white can make it hard to distinguish people. Some look super different with their current facial hair or when they smile with teeth vs. without, so I try to show you how they tend to look on a day-to-day basis. But for some people there aren’t enough pictures of them available to accurately represent this. A note will be made in such a case. 

Stage dooring frequency:

Yes  - people I’ve personally seen stage door No  - people I’ve been told never stage door Unknown  - everyone else Unfortunately, I can’t list the frequency like I do for the Broadway cast since I am unable to actually stage door for this cast. This is the best I can do. If I know more info, it will be listed under that person.

Listed this order (Ensemble-Swings alphabetically by last name):  Principals, Character Ensemble, Ensemble, Standbys, Swings

If you would like to see where the Philip Tour is going vs. the Angelica Tour, click here .

Autographs with red backgrounds provided graciously by @seachick . Thank you so, so much from the bottom of my heart!!

Cast last updated: 7/9/18

Stage door frequency last updated: 3/13/18

JOSEPH MORALES

Alexander Hamilton

Stage door:  Yes

SHOBA NARAYAN

Eliza Hamilton

Stage door:  Yes, almost always

TA'REA CAMPBELL

Angelica Schuyler

MARCUS CHOI

George Washington

KYLE SCATLIFFE

Marquis de Lafayette/Thomas Jefferson

Stage door: Yes, a lmost always

FERGIE L. PHILIPPE

Hercules Mulligan/James Madison

ELIJAH MALCOMB

John Laurens/Philip Hamilton

NYLA SOSTRE

Peggy Schuyler/Maria Reynolds

JON PATRICK WALKER

King George

WONZA JOHNSON

Philip Schuyler/James Reynolds/Doctor Ensemble (M5) Understudy for Alexander Hamilton, Lafayette/Jefferson, Mulligan/Maison, Laurens/Philip

Stage door:  Unknown

BRANDT MARTINEZ

Ensemble (M2) Samuel Seabury

DANIEL GAYMON

Charles Lee Ensemble (M1)

STEPHEN HERNANDEZ

George Eacker Ensemble (M3)

TIA ALTINAY

Ensemble (W4) Understudy for Peggy/Maria

CONROE BROOKS

Ensemble (M6) Understudy for George Washington and King George

Typically wears glasses

KRISTEN HOAGLAND

Ensemble (W2)

Ensemble (W1)

TYLER MCKENZIE

Ensemble (M4)

Stage door:  Yes, frequently

JUSTICE MOORE

Ensemble (W3) #babybullet

Ensemble (W5) Understudy for Eliza Hamilton, Angelica Schuyler, Peggy/Maria

DESMOND SEAN ELLINGTON

Standby for Aaron Burr, George Washington, Mulligan/Madison

JENNIE HARNEY-FLEMING

Standby (universal) for Eliza Hamilton, Angelica Schuyler, and Peggy/Maria

Stage door:  Sometimes (when she’s on)

Currently performing with the Philip Tour cast

This woman is a fucking goddess . If you ever happen to see her as any of the sisters in any production of Hamilton, consider yourself extremely lucky. She will far exceed any expectation you have.

EMILY JENDA

Standby for Eliza Hamilton, Angelica Schuyler, and Peggy/Maria

JULIUS THOMAS III

Standby for Alexander Hamilton, Aaron Burr, King George

CAMERON BURKE

EEAN S. COCHRAN

PHIL COLGAN

Swing Dance Captain

Recently got highlights

HOPE ENDRENYI

Swing (Universal)

Such a sweet, kind person. A literal ball of sunshine. Passionate environmentalist.

Currently performing with the NYC cast

LILI FROEHLICH

CAMDEN GONZALES

KING DAVID JONES

Swing Understudy for Lafayette/Jefferson, Lauren/Philip

CARINA-KAY LOUCHIEY

Stage door: Unknown

TAEKO McCARROLL

ANTUAN MAGIC RAIMONE

Currently performing with the Chicago cast

JULIAN RAMOS

WILLIE SMITH III

KYLE WEILER