Review: 'Hamilton' still lives up to the hype

The 2024-25 season for the Pittsburgh Cultural Trust’s PNC Broadway in Pittsburgh started off with a bang at the Benedum Center. “Hamilton” — the season’s first show — continues to earn its place as a cultural juggernaut with a stellar cast and impeccable production.

Starting in 1776 and ending with Alexander Hamilton’s infamous death at the hands of Aaron Burr in 1804, it sets the unfathomable triumphs and trials of “the 10-dollar founding father” to a complex and catchy score that fuses hip-hop, R&B and traditional musical theater. Through Hamilton’s eyes, we see the events that birthed and shaped our nascent nation.

“Hamilton” may have lost its showroom shine, with some overexposure and a shift in the political landscape. Some now see the 11-time Tony Award-winning musical as a slightly corny Obama-era relic. But there remains so much to love at its heart. If nothing else, it’s pure entertainment.

Lin-Manuel Miranda is the artist behind the book, lyrics and music of “Hamilton.” He based it on Ron Chernow’s biography of the Founding Father and performed the earliest version of the show’s opening number at the White House in 2009. After several years of expanding his original concept — and a journey through workshops and tryouts — it came to Broadway in 2015. And the world turned upside down.

With the original Broadway cast recording readily available, any subsequent cast has an uphill battle toward favorable comparison.

But the latest touring cast that is visiting Pittsburgh stacks up shockingly well. In fact, Tyler Fauntleroy’s Alexander Hamilton is just as charismatic as Miranda’s, with a superior singing voice to boot. He and Jimmie “JJ” Jeter (Aaron Burr) made interesting vocal choices that brought new dimension to their characters. Their duel scene was absolutely tearjerking.

Lauren Mariasoosay played Eliza Hamilton, the emotional core of the show, and it was incredible to watch the songbird character of her voice cracking a bit in the scathing second-act song “Burn.” Eliza bears the burden of grief and heartbreak, but also moments of pure joy. Mariasoosay hit the mark every time. Marja Harmon played her sister, Angelica Schuyler, and her rendition of “Satisfied” was more than satisfactory.

But the casting choice that paid off most was A.D. Weaver as George Washington. His deep, booming voice brought a new gravitas to the part of the first U.S. president. He also radiated a softness in scenes where Washington can sometimes be flinty, such as his appeal to Hamilton in “History Has Its Eyes On You.”

The four actors doing double duty as separate characters in Act One and Act Two have to make each role memorable, and they succeeded, especially Nathan Haydel as John Laurens and Philip Hamilton. Jared Howelton gets some real scene-stealing moments as both the Marquis de Lafayette and Thomas Jefferson, bringing the laughs with ease.

Lastly, there’s Justin Matthew Sargent as King George III, who pops in from time to time to address the colony-turned-country of America. Sargent did some particularly funny face and voice work that had the audience howling at Thursday night’s performance.

“Hamilton” is a visually engaging musical as well, with direction by Thomas Kail and some pretty intense choreography by Andy Blankenbuehler (who, by the way, performed on the Benedum stage in the early 1990s with Pittsburgh Civic Light Opera). Musical number “Yorktown” has the cast and ensemble fighting the final battle of the Revolutionary War under shifting lights onstage and it’s riveting. The musical utilizes a rotating stage, along with stairs and balconies to bring the full ensemble’s action into well-lit view.

The costumes are obviously couched in period dress, with exceptional flair. Gowns with bustles, 18th-century appropriate military uniforms, and frilly cuffs and cravats abound. Especially King George III, who is dressed in his scarlet royal finery for his three interludes.

Because “Hamilton” is mostly sung through, it would be a disservice to not discuss the music. With its variety of styles and an abundance of clever lyrics — from the hip hop-heavy “My Shot” to the ragtime “The Room Where It Happens” to the early 2000s R&B-inspired “Helpless” — Miranda’s talent as a composer is undeniable.

With the looming election, sometimes politics can feel impossible and daunting. It’s refreshing to be reminded of the great history of the United States and the people who devoted their lives to making it possible. “Hamilton” remains a hilarious, emotional and thoughtful work of art that deserves its place in the canon of great American musical theater.

“Hamilton” will run through Sept. 29 at the Benedum Center in Downtown Pittsburgh as part of the Pittsburgh Cultural Trust’s PNC Broadway in Pittsburgh series. For information and tickets, visit trustarts.org.