RePlay: ‘Hamilton’ has Been ‘Non-Stop’ for 10 Years

There’s no better way to get to know the United States’ founding fathers than a high-energy, slightly inaccurate but fully entertaining genre-mashup musical.

After opening on Broadway at the Richard Rodgers Theatre Aug. 6, 2015, Lin-Manuel Miranda’s “Hamilton” forever altered the lives of thespians and laypeople alike. Those who couldn’t make it to New York to see the production live got their first taste of it when the Original Broadway Cast recording released Sept. 25, 2015. 

The blend of traditional show tune melodies, magnetic raps and unforgettable R&B ballads make it impossible to not dance along to this soundtrack. 

While Alexander may be the Hamilton at the top of the star on the album’s cover, he isn’t the only significant Hamilton who’s voice is heard on this track.

The story begins when a young Alexander, played by Miranda (“In the Heights,” “Encanto”), immigrates to the 13 colonies full of dreams to make a name for himself, a steadfast determination laid out in the iconic opening number, “Alexander Hamilton.” 

The revolutionary first act encapsulates the spirit of visionaries willing to give up everything for a cause as Hamilton joins the Revolutionary War. 

“My Shot,” the animated third song, reigns as Hamilton’s anthem as he uses the rap to hype himself up to his fellow revolutionaries, getting them and the audience to join in on his fun. 

Miranda portrays Hamilton’s charisma with ease as he flirts with the other characters named in the song, leading some listeners to question the sexuality of this founding father. No matter the intention of the illusive innuendos between the lead character, John Laurens (Anthony Ramos) and Marquis de Lafayette (Daveed Diggs), Hamilton’s reputation as a world class womanizer is clear in “A Winter’s Ball.” 

A sleazy melody tangles with Hamilton and Aaron Burr’s (Leslie Odom Jr.) intentions for sexual conquest. It’s difficult not to be drawn into their trance, but deeper examination of their words reveals the impropriety of these men — a trait Hamilton is slow to grow out of that haunts him in the second act. 

It’s during “A Winter’s Ball” that Hamilton finally meets his match — the eldest Schuyler sister, Angelica (Renée Elise Goldsberry). 

Bouncing between lightning-fast rapping and dynamic riffs, “Satisfied” is a showcase of Goldsberry’s (“Girls5eva,” “All About You”) vocal power and Angelica’s softer side. Sisterly love and self-preservation are at the forefront of this thought-provoking solo on whether one can truly be satisfied in duty alone or if a leap of faith produces a greater reward.

Eliza (Phillipa Soo), the second daughter of Philip Schuyler, is all bubbles and a hopeless romantic in her solo “Helpless” where she’s introduced to Hamilton by her older sister. Soo (“One True Loves,” “Doctor Odyssey”) is grace and joviality wrapped into innocent naivety as her character can’t help falling in love with the mysterious yet enticing Alexander.

While sparks fly between Hamilton and the three Schuyler sisters, the war continues and Hamilton’s instinct to race towards whatever he wants sparks friction between himself and Burr as they climb rank. 

In the soulful theatre-pop “Wait for It,” Odom’s (“Harriet,” “Glass Onion: A Knives Out Mystery”) vocals are packed with Burr’s desperate yearning for greatness and hesitancy to push the boundaries of tradition. Yet, Hamilton’s opposing outspoken nature is what secures his spot as George Washington’s (Christopher Jackson) right hand man. 

The war comes to an end in “Yorktown (The World Turned Upside Down),” an epic remix of melodies and iconic lyrics from earlier in the act. Hopeful aspects of freedom are embedded into the core of the song, matching the driving force which pushes people to fight for a better future through gentle harmonization of “the world turned upside down.”

Act two begins with a jazzy introduction of Thomas Jefferson, played by Diggs (“Soul,” “black-ish”), who assumes this new role for the rest of the musical. For a man tasked by James Madison (Okieriete Onaodowan) to fix the state of the new government immediately after returning from France, Digg’s Jefferson is effortlessly vivacious, making it difficult not to tap along to his euphonious voice.

Cabinet meetings would be much more entertaining if they were conducted via rap battle like in “Cabinet Battle #1” and “Cabinet Battle #2.” One would hope the songs’ vulgar language would not be tolerated today, but it does make for a fabulously witty debate as Jefferson and Hamilton taunt each other.

Jackson (“Bull,” “In the Heights”) is the embodiment of presidential poise and dignity as he delivers Washington’s final address to the audience in “One Last Time.” To make the listener feel as though they’re truly saying goodbye to a beloved leader in under five minutes is proof of the artistic mastery of Jackson’s vocal and emotional crescendo.

The juxtaposition between the visionary first act and the down-to-earth second would not carry the same reflection of modern politics without a crucial character: Eliza Hamilton.

Contrary to the first act, the second gives Eliza a new role as a mother to her and Alexander’s son, Philip Hamilton (Anthony Ramos). Soo shows her maturity growth in “Take a Break” as her grounded vocalization portrays Eliza’s tired longing for her husband’s full attention.

In return, Alexander commits the ultimate betrayal by cheating, leaving Eliza shattered. With nothing left to do but sing the most tear-worthy ballad in the entire musical, the powerhouse delivers “Burn,” a revenge anthem for the history books. Soo brings breathtaking vulnerability as she flows from absolute distraught to guttural, breathy anger before becoming a shadow of the bright girl she once was.

After everything she goes through, Eliza shows her unbridled strength in “It’s Quiet Uptown.” A forlorn voice dripping with loss joins Alexander’s in his desperation to repair a fraction of what he has destroyed.

This musical is no less the story of Eliza Hamilton than it is of the Hamilton who was the first secretary of treasury as the former leads the musical through its final number, “Who Lives, Who Dies, Who Tells Your Story.” 

It was Eliza’s choice to not let her husband’s story fade into forgotten history. Her work to collect Alexander’s writings, establish an orphanage and fund free schools in their family name allowed Miranda to write this musical.

However, Eliza’s presence in the musical isn’t only to carry on Alexander’s story. While Alexander is often referenced as reflecting the country he fought to create, it’s Eliza who represents its citizens. 

From their first meeting where he gives clear signs of his untrustworthiness to his foreseeable failure to honor her as a partner, Eliza continues to love Alexander.

It’s ultimately in her hands —  as it is for every citizen hurt by the government sworn to protect them — whether to let the relationship crumble or work to rebuild, both understanding the history and being incapable of denying the deep love which started it all.

“Hamilton (Original Broadway Cast Recording)” is streaming on all platforms.