“Hamilton” makes triumphant and timely Manila premiere

An anticipatory buzz filled the Theatre at Solaire as audiences sat in front of a deceptively simple and unfinished stage of bricks and scaffolding. The buzz turned into rapt attention as the first chords of the musical’s opening number blasted through the speakers, and Aaron Burr, serving as the narrator, laid down the first lines: “How does a bastard, orphan, son of a whore and a Scotsman 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?”

Thus begins “Hamilton,” the Tony-, Grammy-, and Pulitzer Prize-winning musical, which marks its Asian premiere with a strictly limited season in Manila this September. Written and composed by Lin-Manuel Miranda, the Broadway and West End hit musical tells the story of America’s Founding Father and Treasury Secretary Alexander Hamilton through rap, hip-hop, and R&B.

Since its Broadway debut in 2015, “Hamilton” continues to play to sold-out crowds, and its devoted fans, dubbed as “Hamilfans,” keep on growing by the number. Now, Filipinos, whether or not they have been introduced to this modern classic, will get to have a once-in-a-lifetime experience of witnessing the worldwide phenomenon in Manila, and its arrival couldn’t have been more timely.

History is happening

Miranda adapted Ron Chernow’s extensive biography of Alexander Hamilton into an almost three-hour sung-through musical, but, given its brisk pace, the hours almost flew by. Most of the details were historically accurate, though Miranda took a few creative liberties here and there.

The result was a fresh and engaging take on the Founding Father’s history, from his time as George Washington’s aide-de-camp during the American revolution to the rise (and fall) of his political career. What made the musical shine was the use of the fast-paced beats, rhythms, and cadences of rap to capture the complex essence of Hamilton, himself a prolific writer. Miranda’s score struck a risky yet satisfying balance between interpolations of music from hip hop artists like Eminem, Common, and The Notorious B.I.G. and elements of traditional musicals from Rodgers, Hammerstein, and Sondheim.

However, it’s not just Miranda’s musical prowess that made “Hamilton” such an engaging show. Everything, including the period-accurate yet modern-looking costumes, the brick and mortar set design portraying the progress of building a nation, and the contemporary choreography skillfully executed by the ensemble, enhanced the story unfolding on stage.

Who tells your story?

The Hamilton International Tour brought together actors from around the world, led by Jason Arrow as the title character. Arrow, who has previously played Alexander Hamilton in the Australian production, is both playful and profound, and manages to carry the hefty expectations set by Miranda himself in his portrayal of the role. His presence alone is magnetic, and his entrance during the musical’s opening number was met with enthusiastic applause. In fact, there are times when Arrow’s timbre and verve on stage were similar to that of Miranda’s, if not better.

Worth noting is the fact that DeAundre’ Woods, who played Alexander Hamilton in the American touring production, now plays the friend-turned-foe Burr. As the stoic Burr, Woods brought the audience to a captivating journey of his character’s transformation from a cautious soldier to an ambitious politician. His impressive vocal range made Burr’s show-stopping numbers “Wait For It” and “The Room Where It Happened” even more engaging.

The show’s Manila premiere serves as Rachelle Ann Go’s return to the role of Eliza Hamilton after her original run in the West End back in 2017. As Eliza, Go delivers a heartwarming and heartbreaking performance and strikes a perfect balance between meekness and steely resolve. Her dynamic vocals, which was her claim to fame as a pop star in the Philippines, are on full display, especially in the show’s eleven o’clock number, “Burn”. She proves to be equal to Arrow’s stage presence, and their portrayal of Alexander and Eliza’s love story is a joy to watch.

Arrow, Woods, and Go are joined by a group of talented actors who convincingly brought America’s historical figures to life. Darnell Abraham brings an enigmatic energy to George Washington, America’s first president. Akina Edmonds is a revelation as Angelica Schuyler, Eliza’s older sister and the only female character who flaunted bars and flow. Brent Hill, despite only having three songs with the same melody and a limited time on stage, manages to make an indelible mark as the increasingly unhinged King George III, the show’s comic relief.

In dual roles are Jacob Guzman, youthful as both John Laurens and Philip Hamilton; Shaka Bagadu Cook, brimming with swagger as Hercules Mulligan and funnily reserved as James Madison; and Elandra Emilah, innocent as Peggy Schuyler and enchantingly sultry as Maria Reynolds. Trey Curtis, who understudies the roles usually played by David Park, proves to be up to the task of bringing the sensational charisma of Marquis de Lafayette and the hilariously annoying presence of Thomas Jefferson to life.

What is a legacy?

As a musical that recounts the life of an American politician, “Hamilton” is bound to have political undertones. Contrary to what one might expect, however, the musical is not overtly political, opting instead to show the complexities of running a nation and the compromises leaders would sometimes make. Notable were the cabinet debates during the second act, reimagined as rap battles, where Hamilton and Jefferson would go head-to-head with arguments that have their own merits. 

While it may seem like a jarring change of pace after the first act’s bombastic tale of revolution, revealing the intricacies of government is a vital part of “Hamilton” as it shows that building a nation is as equally important as fighting for freedom.

At the core of “Hamilton” was a profound exploration of history and who gets to tell it—“Who lives, who dies, who tells your story?”, as the musical posits. Throughout the show, Hamilton repeatedly ponders on how to shape and protect his legacy, which ultimately led to his undoing. Burr, on the other hand, would lament the fact that he will forever be branded the villain after delivering the shot that ended Hamilton’s life, musing that “history obliterates, in every picture it paints.”

Despite it being a piece of American history, the musical’s message goes beyond America and hits close to home. In a time when efforts to revise narratives and distort history are rampant on social media, “Hamilton” serves as a powerful reminder that the stories that deserve to be told will remain as long as there are people who will continue to tell them, the way Eliza spent the remainder of her life tirelessly telling the story of her husband amidst efforts to erase him from history. 

Manila is the first stop in the musical’s International Tour, next is Abu Dhabi in January next year, with other stops to be announced soon. “Hamilton” is currently running at the Theatre at Solaire until November. Tickets are available at TicketWorld, and weekly lotteries offer the chance to purchase orchestra tickets for a discounted price.

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