Spoiler Warning:
In the past decade I’m not sure if there has been another pop culture event that has ordered as much attention and gratification as Broadway’s Hamilton. It took the world by storm and introduced a new generation to the life and struggles of Alexander Hamilton (Lin-Manuel Miranda). As Miranda, who is also credited with writing the script for the Broadway play, embeds the ideas behind who and what Hamilton was into the minds of Americans, millions across the country have found a passion for Broadway and all that it has to offer.
Hamilton is the story of the famed, but possibly underappreciated, Alexander Hamilton. It follows Hamilton’s life through the Revolutionary War, and expresses the connections he made with Aaron Burr (Leslie Odom Jr.), John Laurens (Anthony Ramos), Marquis de Lafayette (Daveed Diggs), and others. As Hamilton navigates the rocky terrain of the newly independent United States of America, he must answer some of the country’s most difficult questions while trying to fight for an equality that will often escape him. Through his many endeavors, Hamilton will find success that sheds light on the shortcomings of the country, while moving it in a potentially effective direction.
What might be difficult to appreciate (as many of the words may be unfamiliar) has been translated into something a bit more accessible. The music and the language used throughout the play is so brilliantly manipulated, assuming the goal is to release the music on an episode of Nick Cannon’s Wild n’ Out. While Hamilton, in its entirety, is a representation of a juvenile approach to appease an audience and a generation, there is one particular scene that too strongly emits this rudimentary nature. The scene in question: the cabinet meeting. As Thomas Jefferson (Diggs) and Hamilton face off against one another and discuss some of the first moves made after the birth of the nation, they, very literally, have a rap battle. Again, while this makes it more accessible to a number of viewers, it feels childish. As the two verbally rip each other apart, it feels that they aren’t far from spewing “yo mamma” jokes at one another. Furthermore, while I’m far from an expert on music, the instrumentals present throughout Hamilton feel simple, repetitious, and unoriginal. I can say, with sincerity, that I’ve never heard the songs from the play before, however, there is something familiar about them all. This means that the beats and the instrumentals have been derived from some other source, further watering down the substance of the musical numbers.
Coupled with the immensely simple music, dozens of performers march around the stage, drowning out the voices of many of the singers (particularly the females) and distracting viewers from what is taking place. While the moves are crisp, well choreographed, and well executed, there is entirely too much going on at once. It feels impossible at times to remain focused on the key members of each scene and Hamilton suffers as a result of this.
Each of the aforementioned aspects of the music can find success in films that are meant to approach nonfiction topics (such as the ones present in Hamilton), ironically, however, that does not appear to be what Hamilton is trying to accomplish. As the entire play feels as if it is attempting to glorify Hamilton, it feels like the audience is meant to accept nearly everything as genuine. The idea that Miranda, and the rest of the crew, try to put Hamilton on a pedestal causes a series of problems for Hamilton. The first being the previously mentioned issue regarding the remedial music, but, more importantly, it seems that many facts have been altered or altogether omitted from Hamilton’s story.
There are major aspects, according to scholars, that have been altered for Hamilton, ultimately leading to the man being seen in a better light: the fact that he owned slaves, the way by which he admits to having an affair, and the fact that a sexual relationship between he and Laurens existed, among other aspects of his life. Visiting each of these oversights, but more likely purposeful ignorance, is the only way to fully understand who and what Hamilton was. Omitting the fact that Hamilton owned slaves, viewers picture him simply as one who fought for equality rather than one who took advantage of the law to benefit himself. While he did, in fact, admit that he had an extramarital affair, viewers are made to think that he admitted this of his own accord, where, in reality, he was outed before he was ever willing to admit his transgressions. While his sexuality technically has no bearing on his character, it feels a bit odd that Hamilton alters this relationship a bit. While the other altered or omitted aspects of Hamilton’s life avoided to project him in a positive fashion, it’s hard to believe that this is the one aspect of his life that was changed for a different reason. Take this how you’d like, but there is something fishy about the omission of such prudent pieces of Hamilton’s astounding life.
Like the issue regarding Hamilton’s fluid sexuality, race is something that is altered in order to find Hamilton success. The issue that lies within the casting situation is not just that the race of the leads (Hamilton, Burr, etc.) have been changed, but the double standard that Miranda and casting directors, Bethany Knox and Bernard Telsey, openly take part in. There is a country-wide understanding that a white individual should not be cast in the role of a historically (or even the role of a perceived) black character. As Miranda has said many times, the roles in Hamilton were consciously filled by people of color, meaning that a man who has openly expressed being for racial equality in Hollywood, much like the man he plays on stage, manipulates his beliefs in order to benefit him and those he cares for. This blatant disregard for his own feelings in order to stack the cards in his and Hamilton’s favor is disrespectful to himself and to everyone who watches the play.
There seems to be an endless number of oversights and mistakes lurking in the shadows (and some right out in the open) of Hamilton, but it’s clear that there are positives throughout the play as well. The absolute best part of the play is Diggs. In short, Diggs’ potential is boundless. He possesses the ability to sing, act, rap, and dance, making him, without a doubt, the most talented individual present in Hamilton. His clear passion for the roles he plays (Lafayette/Thomas Jefferson), the music he expels and the story being told is infectious and makes him immensely relatable. There are a number of individuals who make this play possible, but Diggs is the shining star. Alongside Diggs is Philipa Soo (Eliza Hamilton), who is equally brilliant in her ability to sing. Her acting and her expressions don’t necessarily fit the stereotypical Broadway performer, but it’s her singing that allows her to be so successful. She appears to do everything so gracefully and effortlessly, and while her role doesn’t define Hamilton, her ability to sing in the fashion that she does makes the play better. She is, in a lot of ways, exemplary of the talent present in the play. For the most part, with the exception of Manuel himself, the cast possesses the ability to accurately portray what is asked of them, playing a significant role in its successes.
Hamilton is sadly plagued with a number of historical oversights, racial hypocrisy, and underwhelming musical numbers. As the story unfolds and a series of oversights come into the light, the expededly brilliant Hamilton falls further and further from expectations. Alexander Hamilton is, in some ways, an unsung hero of the American Revolution, but the over-persistent butt kissing that takes place throughout makes me dislike him just a bit. Aspects of Hamilton are meant to allow viewers to see certain characters in a particular light, but the opposite effect is ultimately what takes place. Fans of the Broadway production have built it up to be both brilliant and inspirational, when, in most ways, this could not be further from the truth. While Miranda, and the rest of the crew, find ways to intrigue modern viewers, it becomes very difficult at times to appreciate what is being done in order to tell Hamilton’s story.
Directed by Thomas Kail. Written by Lin-Manuel Miranda & Ron Chernow. Starring Lin-Manuel Miranda, Leslie Odom Jr., Daveed Diggs, Chris Jackson, Philipa Soo, Renée Elise Goldsberry, Jonathan Groff, Jasmine Cephas Jones, Okieriete Onaodowan, Anthony Ramos, etc.
⭐⭐⭐⭐⭐½/10
Comentarios