By Jason and Alisha Hagey
Broadway Across America’s Hamilton at the George S. and Dolores Doré Eccles Theater is more than a performance; it’s a seismic event that shatters the confines of time and place, leaving an unforgettable mark on the soul of Salt Lake City. Under the fearless direction of Thomas Kail (Director), this production is a daring and exhilarating reimagining of history, where the past and present collide in a symphony of sound, sight, and sentiment. Lin-Manuel Miranda‘s (Book, Music, and Lyrics) genius infuses the story with a raw energy that ignites a fire. There’s a reason that Hamilton is revered and beloved.
Because music infuses the whole of the show – very little of the book is without some kind of rhythm and rhyme – we have to make a special note about the music of Hamilton. Miranda undeniably commands the musical genre of rap. Still, his true brilliance lies in his versatile understanding of different rapping styles and the wide range of R&B subgenres that make his work breathtaking. It would be criminal to ignore, however, the layers of harmonious flowing that Alex Lacamoire (Orchestrations/Co-Arranger) brings to the whole with Miranda. Whenever someone does this kind of musicality in the future (Hamilton is now an eponym), that work will be considered “Hamilton-esque.” That is quite a legacy unto itself.
Alex Nicholson‘s (Alexander Hamilton) performance is extraordinary, from the opening scene to the finale. His depiction is a brilliant fusion of powerful feelings and raw vulnerability that leaves a lasting effect. In the captivating number “My Shot,” he masterfully embodies Hamilton’s unwavering determination and youthful optimism with an electrifying intensity that grips the audience. However, it’s in the poignant ballad “It’s Quiet Uptown” where his exceptional brilliance truly shines through, delicately navigating the intricate layers of grief with a depth that resonates profoundly.
In her portrayal, Kendyl Sayuri Yokoyama (Eliza Hamilton) embodies a remarkable strength that resonates throughout the entire theater. Her commanding voice effortlessly draws us into her character’s emotionally charged journey, serving as a guiding light through the story. During the song “Burn,” her performance becomes a profoundly cathartic experience. Yokoyama masterfully conveys the raw pain of betrayal and heartbreak with a genuinely visceral and honest characterization that leaves an abiding impact, simultaneously breaking and empowering.
Our narrator, Josh Marin’s (Aaron Burr) role is a study in contrasts – his charismatic charm masks a dangerous ambition, a ticking time bomb of calculated cruelty. In the musical number “The Room Where It Happens,” Marin’s rendition is remarkably meticulous and disconcerting, showcasing his adeptness at influencing the environment with a detached and cunning intellect. On the other hand, during “Dear Theodosia,” Marin is tender, and in “The World Was Wide Enough,” he is disarming and empathetic.
Lencia Kebede (Angelica Schuyler) is a fiery and independent spirit, a woman ahead of her time, whose powerful presence and sharp intellect light up the stage. She has a voice that goes on forever and an essence that permeates every scene. Kameron Richardson (George Washington) is a towering existence, a steady hand guiding the nation through turbulent waters, exuding authority and grace. Surprisingly, he is a shorter actor than his counterparts, but Richardson’s performance is nothing short in stature. He is as commanding a figure on stage as his historical character.
Paul Louis Lessard (King George III) brings a delightful and clever juxtaposition to the gripping tension of the drama. Each royal gesture and sarcastic remark prompts laughter and infuses the show with a whimsical and unforeseen allure.
The ensemble cast is a revelation. Whether it is their vocals or interactive dance moments, they shine. There is a building pulse of the narrative, and this dynamic group creates the electricity, the buzz, and the momentum of pace. There is no wasted moment, no movement that doesn’t add to the complete theatrical tapestry. The ensemble is a vibrant powerhouse that ignites the stage with its reality.
The design elements of this production are nothing short of extraordinary. David Korins’ (Set Design) set is a dynamic and ever-evolving space that transports us from the bustling streets of New York to the grandeur of the battlefield. The rotating stage is a brilliant metaphor for the relentless march of time and the cyclical nature of history, seamlessly integrating with Andy Blankenbuehler’s (Choreography) evocative, transcendental choreography to create a visual spectacle. Tony Award-winning Howell Binkley’s (Lighting Designer) composition enhances the spectacle by capturing every moment of the play in perfect and precise imagery. Likewise, the Tony Award-winning work of Paul Tazewell’s (Costume Designer) exquisite creations are historically accurate in their line and visually stunning, grounding the characters in their time while elevating them to mythic proportions with uncomplicated, iconic innovations.
Hamilton at the Eccles is more than just a musical; it is a cultural phenomenon that challenges, inspires, and ultimately unites. It is a testament to the power of storytelling to illuminate the human condition, to ignite passions, and to spark change. As the conclusive notes of “Who Lives, Who Dies, Who Tells Your Story” fade into rapturous applause, one thing is clear: audiences will remember this production.
Zions Bank/Broadway at the Eccles Presents: Hamilton
Book, music, and lyrics by Lin-Manuel Miranda, Direction by Thomas Kai
July 31st – September 1st, 2024
Salt Lake City, Utah
The George S. and Dolores Doré Eccles Theater
131 Main St, Salt Lake City, UT 84111
Tuesday-Thursday evening shows all start at 7:30 PM
Friday-Saturday evening shows all start at 8:00 PM
Sunday evening shows all start at 7:00 PM
All Saturday Matinee shows start at 2:00 PM
All Sunday Matinee shows start at 1:00 PM
Tickets are $119 – $349
Broadway-at-the-Eccles.com
801.355.2787 (ARTS)
Run time: 2 hours, 45 minutes with 1 intermission.
Facebook: @BroadwayAtTheEccles
Instagram: @BroadwayAtTheEccles
Hamilton Tour
Recommended for ages 10 and up. No babies-in-arms. All patrons must have a ticket regardless of age.
Please note: there is some strong language.
Accessibility Information:
OPEN CAPTIONED: Saturday, Aug 3, 2024 at 2:00 PM and Thursday, Aug 29, 2024 at 7:30 PM
During our captioning performances, we offer a screen near the stage that will provide live captions throughout the show. Patrons who are interested in the captioned performance should select seats located at Orchestra Right on the Main Floor (excluding Orchestra Pit seating).
AUDIO DESCRIPTION: Friday, Aug 2, 2024 at 8:00 PM
The spoken narration of the performance’s key visual elements. This option is available on the following performances. Devices are available at the Patron Services window in the main lobby.
ASL Interpreted: Saturday, Aug 24, 2024 at 8:00 PM
Patrons who are interested in the American Sign Language (ASL) performance should select seats located at Orchestra Left on the Main Floor rows D-H.
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