Do not throw away your shot to see 'Hamilton'

REVIEW

If you want to be in the room where it happens, Wharton Center’s Cobb Great Hall is the place to be for the next few weeks. “Hamilton: An American Musical,” one of the most critically and financially successful Broadway musicals is finally here and is definitely worth your time and money. Complete with incredible music and lyrics by Lin-Manuel Miranda, dancing, a steamy affair and murder, “Hamilton” is the revolutionary historical musical you didn’t know you needed.

Starting with a snap, a spotlight and the question “How does a bastard, orphan son of a whore … grow up to be a hero and a scholar?” “Hamilton” adapts the real story behind the face on the $10 bill along with a colorblind cast portraying familiar names like George Washington, Thomas Jefferson and, of course, Aaron Burr.

Chronicling Hamilton’s journey from the Caribbean through the Revolutionary War and the founding of the United States until his untimely death from a pistol duel with Burr, “Hamilton” is an informative and educational whirlwind of music and history that feels brisk even at two hours and 45 minutes.

Edred Utomi leads the cast as Alexander Hamilton, playing the brilliant minded but socially unpolished writer/politician with a surprising amount of reserve. Playing Hamilton like a nerdy teenager with a chip on his shoulder with flares of a brash temper, Utomi’s Hamilton comes to life, particularly when sparring with his opponents.

As Hamilton’s primary opponent Aaron Burr, “the damn fool who shot him,” Josh Tower brings a great voice and warmth to his cagey character. Tower and Utomi’s chemistry is the perfect blend of cool animosity that never feels overplayed.

The rest of the cast is stellar from the supporting and featured roles to the constantly moving ensemble. Standing out in particular are Paul Oakley Stovall as the larger than life George Washington with incredible voice and stage presence to match, Bryson Bruce as Marquis de Lafayette/Thomas Jefferson who quite possibly raps at the speed of sound, Cherry Torres, Hannah Cruz, and Olivia Puckett as the charming Schuyler sisters, and Peter Matthew Smith as the despicably fun King George.

Every actor with a speaking role gets at least one show stopping song — example “My Shot” for Hamilton, “The Room Where It Happens” for Burr, “One Last Time” for Washington, which ultimately shares the wealth and makes the entire show richer.

The period-appropriate but uncluttered scenic design by David Korins most composed of brick walls and moveable stairs allow the cast and production to move and transition swiftly. But the star set piece is the rotating center stage which allows the cast to virtually run in place as well as assist in the illusion of slowing or stopping time.

Aiding in the time-stopping effect are the perfectly in-sync lighting design by Howell Binkley and sound design by Nevin Steinberg.

Paul Tazewell’s costume design is period evocative but simple and adaptable, allowing for lots of movement by choreographer by Andy Blankenbuehler merging an original blend of modern dance and ballet.

So, does “Hamilton” live up to the hype? Yes.

The earnest and inspiring storytelling and songs are unlike anything on Broadway right now, for example, turning the debate of whether to establish a national bank into a rap battle. But “Hamilton” is more than a successful musical, it’s a cultural phenomenon that is revolutionizing the musical genre with new ideas and fans. As Hamilton says in the show, “This isn’t a moment, it’s the movement.”

But if you are convinced that the show is “overrated” or you just don’t want to spend the money, that’s fine. I’ll take your ticket.