REVIEW:
Hamilton - where history (or some version of it) dances to hip-hop beats and revolution wears a multi-ethnic coat.
The original Broadway musical centres on the life of Alexander Hamilton (played here by Jason Arrow), one of the prominent Founding Fathers of the United States, alongside early Presidents George Washington, John Adams and Thomas Jefferson. It delves into the remarkable narrative of Hamilton’s journey from an impoverished orphan immigrant to a celebrated political figure.
Now the award-winning show has made its New Zealand debut with its Australian cast, calling Auckland’s Spark Arena home for a two-week run.
The show’s writer, Lin-Manuel Miranda’s rapid-fire verses and catchy hooks are mesmerising, his clever wordplay igniting fires in the hearts of theatregoers worldwide - but beneath the shimmering surface lies a whirlwind of controversy, swirling in the wake of this cultural phenomenon.
There have been more than a few raised eyebrows at the liberties taken with historical accuracy since its Broadway debut in 2015, with critics arguing it sidesteps the haunting spectre of slavery, a crucial element of the era it portrays, in the pursuit of a gripping narrative. However, one might argue that few musicals, or even Hollywood films, have prioritised historical fidelity over entertainment value.
The primary objective of a musical is to entertain and inspire, and there is no denying Hamilton succeeds brilliantly in this regard. It skillfully dances along the line between fact and fiction with superb choreography that blurs the boundaries of ideology, and while it is valid to discuss the historical liberties taken here, it’s essential to recognise that the purpose of the musical extends beyond serving as an historical document.
The musical distinguishes itself by purposefully employing diverse casting, representing historical figures traditionally portrayed by white actors as people of colour. This intentional choice enhances the exploration of immigration, representation, and the overlooked contributions of marginalised communities to American history (albeit minus the slavery aspect), while also sparking an interest in history and prompting reflection on the broader themes and the narratives we choose to tell.
Its homage to the immigrant experience sparks hope and resilience, and admirers have applauded its capacity to humanise the revered figures of America’s history, revealing the imperfections that lie beneath the polished images presented in traditional historical accounts. However, there are voices of caution that warn against the potential danger of idolising flawed heroes and disregarding their inherent contradictions.
Yet, amidst the debates and discourse, there’s no denying the magic that unfolds on stage. The actors’ energy electrifies the air, their voices soaring, embodying the struggles and triumphs of a fledgling nation. Jason Arrow (Hamilton) and Callan Purcell (Burr) command the stage with magnetic charisma. Their vocals are powerful and emotive, capturing the essence of their characters and conveying their emotions with depth and authenticity.
Kiwi Matu Ngaropo (Ngāi Tahu, Te Rarawa, Ngāti Porou) delivers a truly remarkable portrayal of George Washington, infusing the character with powerful intensity that is both captivating and moving. The traces of haka coming through in his dance performance add a cultural richness and depth to his portrayal.
The set design is a masterclass in minimalism and functionality. Rotating platforms effortlessly transition between scenes, providing a fluidity that keeps the narrative moving with precision. The creative use of space and props adds depth and dimension to the stage, enhancing the storytelling experience.
So, step into the room where it happens, and let Hamilton steal your breath. Contemplate its complexities, embrace its flaws, and enjoy the journey until its musical swan song draws to a close, because it’s an experience that defies categorisation. It is a tapestry woven from fact and fiction, rousing debate and introspection. It is a reminder that history is not a static portrait but a living, breathing tale waiting to be retold.