Lin-Manuel Miranda

Leslie Odom Jr.

Renée Elise Goldsberry

Phillipa Soo

Daveed Diggs

Christopher Jackson

Jasmine Cephas Jones

Okieriete Onaodowan

Anthony Ramos

Jonathan Groff

Carleigh Bettiol

Ariana DeBose

Hope Easterbrook

Sydney James Harcourt

Sasha Hutchings

Thayne Jasperson

Elizabeth Judd

Jon Rua

Austin Smith

Seth Stewart

Ephraim Sykes

Nan Marie Sandle

Charles Christopher Rubino

David Korins

Dave Paterson

Nevin Steinberg

Robin Mishkin Abrams

Pat Capone

David Knox

Bill Winters

Maceo Bishop

Chris Rouchard

Shannon Williams

Howell Binkley

Charles G. LaPointe

Tony Volante

Alex Lacamoire

Nicky Saunders

Bruce MacCallum

Jay Vicari

Chris MacKenzie

Fred Waggoner

Daniel Timmons

Jack Donnelly

David Backus

Tom Gaito

Ron Chernow

Robert Fernandez

Frederick Agyemang

Ryan Dodson

Andy Blankenbuehler

Thomas Kail

Jeffrey Seller

Sander Jacobs

Jill Furman

Declan Quinn

Paul Tazewell

Jonah Moran

Bernard Telsey

Bethany Knox

Justin Wilkes

Jon Kamen

Dave Sirulnick

Taylor Rosa

Patrick Vassel

Kyle Barrineau

Brien Brannigan

Kevin Camus

Eric Castaldo

Andrew Depaulo

Angelo Grasso

Peter Iacoviella

Rod Lemmond

Timothy R. McWilliams

Fred Mecionis

George Wagner

Reed Wagner

Mark Amicucci

Nick Borisjuk

Brian Flanzbaum

Peter Gray

Olga Abramson

Sean Beach

Joe Belack

Ty Chennault

Christian Collins

Keith Conod

Jason Cortazzo

Aaron Dawley

Keith Devlin

Jeff Dickerson

Pedro Diez

Brian d'Arcy James

John Buzzetti

Jason Robert Brown

Oskar Eustis

Gabrielle Floyd

Joanne Freeman

James Nederlander Sr.

Rory O'Malley

Cindy Salgado

Alyse Ardell Spiegel

History

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Hamilton

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United States of America

English

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adultery

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upper class

presidential election

blackmail

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based on play or musical

duel

orphan

death of son

18th century

fatherhood

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illegitimate child

american revolution

revolutionary war

founding fathers

stage musical

19th century

filmed play

live theatre

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filmed theater

1800s

based on real person

musical proshot

biographical drama

A Disappointment

This is a musical not made for people outside of the USA.  I had to watch the thing again and wiki Hamilton to try to figure out who was who except for some of the bigger names.  

Going by the poster, this is was meant to be some attempted rise to fame of Harry Potter in Hollywood.  
The casting was varied, which is great generally, but not representative of history (noone looked like what they should have).  
Historical themes seemed to be swapped around and added in for convenience-sake.   
Some performances were good, Soo, Groff and Diggs, whilst others (MIranda - who was better in Mary Poppins Returns) just felt flat and tired.  
It felt like 6 or so cameras were placed and then just recorded.  
And the choreography was distracting at times, not complimentary.  
And character development - the only one who shows any is Soo's character.  

This might be a great musical, but it is not a great movie (despite what people are reviewing it as).  It is hard to follow as a citizen of the world who does not know US political history details nor its players.  Its cinematography, casting and set pieces felt lazy (this could have been turned into grand cinema). 
And it was overly long...people might expect this type of thing to go for hours on West End to get their money's worth, but 2hrs 40 is overkill in this medium.  

The hype behind this made me think this was brilliant.  I was majorly disappointed.

Peter McGinn

I suppose this movie was behind the eight ball from the very start in a way. On the one hand, there was such a tremendous hype for it as a play, it built the expectation of being blown away, and on the other hand, it being presented in its live theater version made it lose some of the visual impact of seeing it in person. We expect a greater production value on the screen.

The story is great, and should be required viewing for children at a certain age. I confess, I wasn’t enthralled by it as a musical. I guess I am too used to musicals that have regular dialogue broken up by songs rather than continuous sung dialogue. If there had been dialogue surroundIng eight or ten lovely songs like Helpless, I would have given it top marks. It is still an impressive production.

I feel I have to comment on the diverse cast. I am white and had no problem with the cast choices. I would have cried foul if they had presented an all white cast as some seem to think was required. I had an acquaintance complain, “What if they cast a white actor as Martin Luther King? And all I can do is flip it upside down. There are only a half-dozen people of color in our history books for every hundred Caucasians, and if it reaches the point where whites stop whining when people of color play those roles, I am convinced that people of color will be totally fine with whites playing the roles of people of color. But we aren’t there yet, are we?

This is not a Movie. It is a television program. It is a filmed stage play that is being broadcast on television. These things do not add up to this being a film, not even a TV-movie.

"My name is Alexander Hamilton/And there's a million things I haven't done/But just you wait, just you wait," Lin-Manuel Miranda sort of sings at the beginning of Hamilton. About three hours later we're still waiting.

Hamilton is divided into two acts. The first covers Hamilton's arrival in New York City in 1776, his work as General George Washington's aide-de-camp during the American Revolution, and how he met and married Eliza Schuyler.

The second covers Hamilton's postwar work as the first United States Secretary of the Treasury and his death in a duel with Aaron Burr. The first act is strictly hagiographic; Hamilton is so messianic that Burr (Leslie Odom Jr.) might as well be called Judas.

Watching the meteoric rise of the protagonist's military and political career unfold in song and dance form, I began to experience a revelation; if they changed the historical pe-riod and characters, this could easily become Forrest Gump: The Musical.

We never really get a sense of why Hamilton was so special, important, and essential in the lives of so many people; his success seems to be the result of a geographical-temporal accident — that is to say, Hamilton is always in the right place at the right time.

Miranda has allegedly written songs with many adjectives and very few verbs; lyrics that care more about the 'what' than the 'how' and 'why'. "How does a bastard, orphan, son of a whore/And a Scots-man, dropped in the middle of a forgotten spot/In the Caribbean by providence impoverished/In squalor, grow up to be a hero and a scholar?"

That’s a good question, deserving of a better answer than "by working a lot harder/By being a lot smarter/By being a self-starter." And, apparently, by being vague as all hell. Hamilton thus moves from one plot point to the next as in a dream, without ever conjuring up a precise image of the cha-racter's trajectory.

The second act is more specific about Hamilton's legacy; the character stops just 'being' and starts 'doing.' There is, however, another problem here.

The real Hamilton was more a man of words than actions, and his writings must surely be fascinating to the appropriate reader; on the other hand, one doesn’t read him for the sheer entertainment value.

To mention just one example, Hamilton helped ratify the United States Constitution by writing 51 of the 85 essays known as The Federalist Papers, which are still used as one of the most important
references for the interpretation of the Constitution.

This is almost as impressive as it is boring, and all the hip hop choreography in the world can't change the fact that Miranda's alleged songs, although true to the spirit of the statesman who inspired them, are devoid of all trace of showmanship.

These are long, heavily expository litanies, laden with facts and dates, as if written by a high school student who can’t remember his History otherwise. Meanwhile, King George III of England (Jona-than Groff, who steals the show in his too brief and few appearances) is depicted as a buffoon, but has the catchiest song in the entire production.

All of the above notwithstanding, Hamilton's biggest flaw is Miranda himself. As a composer he clearly favors quantity over quality, but a performer with authority and presence might have been able, with a superhuman effort, to elevate the author's pedestrian material.

Miranda is very far from being that performer; his dancing can be generously described as spastic, and his singing is more of an irritating nasal whine, as if he inhaled helium before each number — as opposed to the oxygen for which he visibly gasps as he tries to sing and dance at the same time.

Oh, and to be perfectly non-PC, his physical resemblance to the Bumblebee Man from The Simp-sons isn’t very pleasing either. All things considered, Miranda surrounds himself with a wonderful cast; so wonderful indeed that each individual member, as well as the ensemble as a whole, outshines the star, who is exposed as a black hole of charisma and talent that sucks all the joy out of singing and dancing.

If you didn't know going in, this isn't either a film or a TV show. It's a recording of the Broadway play of the same name.

Admittedly, this play is for Americans who already have some idea of history. That probably excludes the younger generations, since the public school systems have gone south with years of Republican under-funding. (Seriously, some teachers make less than burger flippers.)

As a stage actor and a history buff, I loved this play and am so sorry I didn't get a chance to see it on Broadway. There are multiple reasons I gave this a nine, the major of which is that I'm rating it as a play, not a film.

First, I was blown away by the creativity. There is no spoken dialogue which is unusual for a musical. Second, it's done nearly all in hip-hop/rap, with one set-piece even in slam battle. The staging is great.  Kudos for creative use of a turntable. I was blown away by the amazing, seemingly complicated, "rewind" scene.

Yes, it may or may not be historically accurate. (History, or "his-story" is written by the victors, isn't it?) It's good story telling. It's political. It's fun and it's touching.

I guess it's a musical, and the world needs more of them, so there is that going for it. And I guess the races are swapped so... that is supposed to make it really good for reasons that aren't really clear.

But, really, it's void of wit and insight, it is completely insulting to history with the only thing that seems accurate and true to life is that Hamilton existed and was Secretary of State

And the views expressed by Hamilton are the least Hamiltonian views you're ever going to see.

If you've ever read him, you kind of wonder if this is based on the same Alexander Hamilton.

1776 got a LOT of history wrong for artistic liberties, but at least the theme was accurate and it got more right than wrong.

Hamilton doesn't even try. It's the story of Hamilton written by people that haven't even heard of his Report on Manufacturing and the economy he created.

What a load of rubbish, trying too much to be edgy it became disgusting

CapreseMartini

I didn’t finish Hamilton. I didn’t want to. I didn’t need to. From the moment someone opened their mouth and started rapping about the Federalist Papers, I knew: this was not for me.

Impressive, I guess, but also exhausting. It’s like being stuck at a dinner party where everyone speaks in rhyming couplets and references the Constitution. I didn’t sign up for “Founding Fathers: The Talent Show.”

There’s a certain smugness to it all, too — that unbearable “we’re making history cool!” vibe that only makes it more unbearable. It’s like being trapped in a high school production with a million-dollar budget.

Hamilton is uniquely bad because it’s exactly the kind of thing a theater kid thinks is genius while everyone else in the room slowly loses the will to live.

I was stunned by all of those negative reviews. I thought the stage play was masterfully presented on the big screen. The camera work was well coordinated and well edited, with attention to views from above and strategic close-ups of the actors, revealing the extent of their talent and their immersion in their roles.  The stage design was better appreciated from the higher cameras, which revealed far more than could have been seen from a seat in the theater.  There are not sufficient words to extoll the composer, both musically and lyrically.  Hamilton, the play, is a work of pure genius and of rigorous attention to crafting every word and nuance. Of course one must also acknowledge the author of the book upon which Hamilton was based, which I assume was a significant creation, even though I have not read it. I am in awe of Lin-Manuel Miranda, and I sincerely encourage audiences to partake of this masterpiece.

Hamilton( 2025)

Experience the original Broadway production.

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A review by sykobanana

Written by sykobanana on Mon Jul 06 2020

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