Hamilton Review – A delicious heart and head

Yes. Worth waiting. Yes, it does. Powerfully speak to a British audience. Yes, it has. Change, expand, give the musical new wings. But no, you can not. Get a ticket before the next booking deadline begins. Unless you win the daily lottery. Keep trying.

Ringo Manuel Miranda Hamilton – it’s all his style, books, lyrics and music – is revolutionized and first. As one of the founders of the United States performed: Alexander Hamilton suddenly realized he was the first Treasury secretary to spend $ 10. Hype has been so unbelievable that viewers have some insight into their breakthroughs. About seizing the stage through street music – rap and hip hop together with R & B, Soul, Britpop and rock singer. About Hamilton, so far a relatively stateless politician of unknown, as a hero of music. About the United States past and present American Elision, with the founding fathers and mothers of white – mostly black and brown actors.

Most importantly, what they know. This is another departure. This is the first time people have entered a new program – instead of a familiar jukebox music – heard the lyrics. Once the test is out to hum a song. Hamilton proved that agile words can be the main motivation. Like Hamilton (who is Jamala Westman, the most recent impressive Radda graduate), he is one of the most flexible speakers. Aaron Burr, the powerful opponent of his allies, continued to advise him to “talk less and laugh more.”

Hamilton expands your heart and concentrates your brain by stretching your ears delicately. From “diuretics” to “bipartisancies” to Macbeth’s “Tomorrow, Tomorrow, Tomorrow,” the sardonic sarcasm of sharpness through its rhymes: dirty and academics, anarchy and panic, “we can grant, ? ” By the way, it forces you to suspect it because it exercises and splits the word – “phe-nom-e-non”. The revelation may be the formulation of the United States and the drafting of the constitution, but the effect is universal. One of the palliative responses was the high profile of Hamilton and Lafayette, who declared: “Immigration! We’ve done the job!”

Is there anything wrong with Miranda’s show and Thomas Kail’s direction? Then it may not make sense to end a relatively orthodox folk song.

I’m not keen to reveal pussy leggings (wear cheap sexy corsets and boots). Andy Blankenbuehler’s muscular choreography moves people seamlessly from civilian to military life, but not to transport.

Still, nothing can detract from this marvelous mix of political and musical history. Michael Jibson The petite King George George, a child-monarch with a cross-shaped face and luxurious crown, generously affixed his own feet, Elton John- ishly) accusing the disloyal United States. Christine Allado, Rachelle Ann Go and Rachel John brought Destiny’s Child out to the fate of American women. A chariot between Jason Pennycooke’s Jefferson (Jefferson deftly double Lafayette) was recorded in the battle rap.

Hamilton is “the room where it happened.” Miranda’s program asks “Who’s Who, Who’s Dead, Who’s telling your story?” Instead of answering this question with one who’s one more thing: an infinitive musical.

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