Review: Hamilton at Winspear Delivers More Than Hype

By Dameron Growe

It truly amazes me that the current production of Lin-Manuel Miranda's Hamilton lives up to the national hype. Beyond the catchy songs, fast-paced plot, sharp dance moves, and amazing set lies the beauty of the relationships and the flaws in each character.

From the moment the lights dimmed, and the title song "Alexander Hamilton" began, Deon'te Goodman's warm voice and intense percussive pronunciation carried the song as he embodied the character of Aaron Burr. Throughout the night, Goodman took us on an emotional journey through Burr's frustration, pride, hope, suspicion, triumph, and regret.

​Nick Sanchez's Alexander Hamilton left little to be desired. He captivated us with not only his vocal prowess but also his connection with Goodman's Aaron Burr. I have seen four prior productions of Hamilton, but this is the first production where I felt the tension and respect between the two characters throughout the entire performance.

---

Lencia Kebede, Kendyl Yokoyama, and Milika Cherée transformed the mood with their connectivity as Angelica, Eliza, and Peggy Schuyler, the Schuyler sisters. Yokoyama's portrayal of Eliza proved that having a smaller stature than her castmates does not diminish the amazing skill of her performance. From beginning to end, the clarity of her tone and range was spectacular. Her use of straight tone and subtlety in "Burn" gave me chills. She was matched by Kebede and Cherée, each bringing a distinctly different flair to their characters.

Cherée's Peggy and her return in Act 2 as Maria Reynolds was a standout for me. Often, the character of Peggy is overlooked as more of an extended cameo rather than a fully realized character. Although Peggy doesn't say much, Cherée's facial expressions communicated her nervousness about venturing into the city and provided surprising comedic moments not normally expanded upon.

George Washington, portrayed by Carvens Lissaint, brought the house down with his full-voiced rendition of "One Last Time," nearly securing a standing ovation mid-show. Jared Howelton (Marquis de Lafayette/Thomas Jefferson), John Devereaux (Hercules Mulligan/James Madison), and Tyler Fauntleroy (John Laurens/Phillip Hamilton) each delivered poignant character moments, showcasing their camaraderie as military colleagues. However, Howelton's Jefferson became my new favorite performer in this role. He blended physical comedy with varied vocal inflections, hilariously portraying Jefferson's braggadocious and arrogant manner. His dancing and singing showcased an impressive range of techniques, constantly drawing my attention wherever he was on stage.

Paul Louis Lessard's portrayal of King George was a scene-stealer every time he appeared. With squinted eyes, wrinkled nose, and awkward mouth contortions, he delivered iconic lines such as "I will send a fully armed battalion to remind you of my love." While the character is typically portrayed as stoic and emotionally unbalanced, Lessard brought intensity and versatility through vocal inflections, leaving us in stitches with each of his appearances.

​Andy Blankenbuehler's jazz-infused choreography perfectly countered the angular nature of Hamilton's rise and fall as the protagonist. Paired with Alex Lacamoire's musical direction, Blankenbuehler's choreography was amazing. It provided the singers with more freedom to improvise while still maintaining clarity in the orchestrations, ensuring they blended seamlessly and avoided clashing. Director Thomas Kail's masterful attention to detail in each character's arc, both as individuals and as human beings caught in the midst of an exciting and devastating time in history, truly elevated this production.

---