Book, Music and Lyrics by Lin-Manuel Miranda
Inspired by the book “Alexander Hamilton” by Ron Chernow
Choreography by Andy Blankenbuehler
Directed by Thomas Kail
Cast: Javier Munoz, Christopher Jackson, Jasmine Cephas Jones, Lexi Lawson, Rory O’Malley, Anthony Ramos, Mandy Gonzalez, Okieriete Onaodowan, Carleigh Bettiol, Miguel Cervantes, Andrew Chappelle, Alysha Deslorieux, Michael Luwoye, Hope Easterbrook, David Guzman, Gregory Haney, Sydney James Harcourt, Neil Haskell, Sasha Hollinger, Sasha Hutchings, Thayne Jasperson, Elizabeth Judd, Roddy Kennedy, Stephanie Klemons, Austin Smith, Seth Stewart, Ephraim Sykes, Kamille Upshaw, Voltaire Wade-Greene, Daniel J. Watts
Scenic Design: David Korins
Costume Design: Paul Tazewell
Lighting Design: Howell Binkley
Sound Design: Nevin Steinberg
Music Director: Alex Lacamoire
First Performance July 13, 2015
Opening August 6, 2015
From the creative team behind the Tony Award-winning In The Heights comes a wildly inventive new musical about the scrappy young immigrant who forever changed America: Alexander Hamilton.
Tony, Grammy, and Emmy Award winner Lin-Manuel Miranda wields his pen and takes the stage as the unlikely founding father determined to make his mark on a new nation as hungry and ambitious as he is.
From bastard orphan to Washington’s right hand man, rebel to war hero, loving husband caught in the country’s first sex scandal to Treasury head who made an untrusting world believe in the American economy, Hamilton is an exploration of a political mastermind.
George Washington, Thomas Jefferson, Eliza Hamilton, and lifelong Hamilton friend and foe, Aaron Burr, all attend this revolutionary tale of America’s fiery past told through the sounds of the ever-changing nation we’ve become.
Tony Award nominee Thomas Kail directs this new musical about taking your shot, speaking your mind, and turning the world upside down.
Ben Brantley – New York Times
I am loath to tell people to mortgage their houses and lease their children to acquire tickets to a hit Broadway show. But “Hamilton,” directed by Thomas Kail and starring Mr. Miranda, might just about be worth it — at least to anyone who wants proof that the American musical is not only surviving but also evolving in ways that should allow it to thrive and transmogrify in years to come.
Marilyn Stasio – Variety
“Hamilton” was a sensation in a 299-seat house at the Public Theater, where the blazing inventiveness of Lin-Manuel Miranda’s hip-hop musical tribute to one of our illustrious Founding Fathers played right into the downtown vibe. But this innovative show is shaping up to be just as much of a phenomenon uptown, playing in a Broadway house with four times the seating capacity, and to a more traditional but no less enthusiastic audience. That universal appeal to crossover audiences is one unmistakable sign of a groundbreaking show.
Jeremy Gerard – Deadline
Every great musical improves on second (and third, and fourth) hearing; Hamilton, which opened Thursday night at Broadway’s Richard Rodgers Theatre after an extended run last winter at the Public, is no exception. Lin-Manuel Miranda’s electrifying adaptation of Ron Chernow’s celebrated biography of the least-known U.S. Founding Father is not, to use that cliché, a game-changer. It is, in truth, the quintessence of a Broadway musical destined for the record books: Of-the-moment in its rolling, roiling waves of rap used to tell its tale yet timeless in its unembarrassed detours into the sentimental ballads and roof-levitating choral numbers that are Broadway’s stock-in-trade. Like Rent 20 years ago and A Chorus Line 40 years so, Hamilton is accessible without pandering and inspirational in sneaky ways that permeate a skeptic’s shell. Miranda has used well the interregnum between downtown and up, sharpening lyrics, shifting some of the relationships to achieve greater balance and, happily, ignoring suggestions that he trim the show (it clocks in at about two-and-three-quarters hours yet never feels long).
Frank Scheck – Hollywood Reporter
The musical is a triumph, one that has already been seen and lauded by presidents past (Bill Clinton), present (Barack Obama) and possibly future (Hillary Clinton) — not to mention, in an illustration of its ability to bridge political differences, former vice-president Dick Cheney. Already playing to sold-out houses and consistently ranking among the top Broadway grossers, Hamilton stands poised for a lengthy run. More to the point, it signals its immensely talented creator and star as a game-changing figure in musical theater.
Chris Jones – Chicago Tribune
So while “Hamilton” is certainly a show that moves the musical form forward, and will be lauded as such, its design language (the shrewd set is by David Korins, and Paul Tazewells’ costumes are complex) and its dramaturgical point of view owe something to “Spring Awakening” and “American Idiot.” But what this show uniquely (well, “1776” aside) has going for it is that it is telling the story of America, and thus motivating people to look anew at the raw idealism and risk-taking that founded the nation, especially the egalitarianism of the Constitution. That’s why President Barack Obama already showed up in the audience. This is no quixotic Euro-narrative; the creation of America is the narrative.
Terry Teachout – Wall Street Journal
“Hamilton” is the best and most important Broadway musical of the past decade. Why important? Because it sounds as though it had been written last week instead of a half-century ago. At the same time, and even more surprisingly, “Hamilton” enlists the musical language of hip-hop in the service of a patriotism that is at bottom as old-fashioned as skyrockets on the Fourth. Yet there is nothing quaint about the deeply thoughtful way in which Mr. Miranda has interwoven the tension between Hamilton’s personal ambition and sense of national mission with the parallel capacity of his fellow framers to balance realism with idealism.
Linda Winer – Newsday
The musical — written and composed by its star — manages to be radical and satirical, yet good-hearted. It is sung-through like a pop opera. But it is driven by rap’s nonstop verbal and rhythmic unpredictability and, somehow, proudly indebted to jazz, ’60s pop, Gilbert & Sullivan patter songs and golden-age Broadway. The jagged, sly poetry and overlapping storytelling barrel through, dense and fast, except when choreographer Andy Blankenbuehler’s lusciously visceral dancers shock us in slow motion.
Elysa Gardner – USA Today
The USA is, undeniably, where musical theater — storytelling featuring fleshed-out characters, propelled by words, music and dance — took shape and thrived in the 20th century. But there has been nothing on Broadway in the past 20 years to rival the riveting, exhilarating and haunting Hamilton (**** out of four stars), which premiered at the Public Theater last winter to wild acclaim, and opened Thursday at the Richard Rodgers Theatre, its vitality and ingenuity fully intact.
Elisabeth Vincentelli – New York Post
But “revolutionary” the show is not. Truly radical art is divisive, and under its brash exterior, “Hamilton” is warmly reassuring — a love letter to a land of opportunity where “The 10-dollar founding father without a father/Got a lot farther by working a lot harder/By being a lot smarter/By being a self-starter.”