Theatrical Triduum: Hamilton (1)

Note: This is the first of three posts about my experiences as an audience member for three different shows in a span of three days.


Reality set in when we turned the corner and saw the marquee.

My friend Abby and I happened upon the opportunity to see the hit musical Hamilton in Chicago.  (Thanks for making it possible, Jenny!)  We'd had things planned since April.  We both came from our respective directions and met in the windy city, explored the Chicago Cultural Center and Millennium Park, ate supper, checked into our Airbnb, then returned to the PrivateBank Theater.

There it was.

"Okay, so we're doing this," were the lyrics (from 10 Duel Commandments) that coursed through my brain as we entered the lobby and walked up the stairs.

It was hard to maintain reasonable composure as we were ushered to our seats in the first mezzanine. Internally, I was fan-girl-ing and geeking out so hard!  We sat in awe of the set, having seen pictures of it before and theorizing how it all would be utilized.  We looked around at our theater-going peers, realizing our privilege and the probable demographic contrast between the audience and the cast that had yet to appear.

Seven-thirty rolled around,
a few minutes passed,
then the lights dimmed
and
DUN DUH-DUH-DUH DUN DUN DUN
for a split second, I realized that this show had no overture (unless you call "Alexander Hamilton" the overture, but it's more of an opening/intro, really)
and the adventure began.

Before I get into too much detail, I should say that I cannot tell you how many hundreds, maybe even thousands of times that I've listened to the soundtrack since my love for this show began late October 2016.  My obsession waned this spring, and I wouldn't consider myself as hardcore of a fan as I know there exists out there.  (Obviously my obsessive listening ramped back up about a month ago.)

I am a very auditory person, but seeing the show live gave me the opportunity to better understand the depth of the words and the music on a different scale than pictures, written explanations, speculative internet posts, and CD tracks can ever provide.  I was a little afraid that seeing the show wouldn't live up to all the hype.  Was it a life changing experience for me?  Perhaps not in the same way that some others who've seen the show make it out to be.  Was it worth going?  Most definitely.  Being a part of the audience that night reminded me of how important theater is to understanding the world around us.

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And now, my itemized list of opinions on the show. (Thanks, "Your Obedient Servant")
[I] wrote it down right there. Highlights! (Thanks, "The Reynolds Pamphlet")

IN GENERAL

• The ensemble was virtually nonstop. It was hard to focus on one thing because there was always more than one area of motion on age. I especially like the small details carried out by the ensemble.  In "Satisfied," Mr. Schuyler was on the upper level waiting for his part a few moments later when talking to Alexander about marrying Eliza.  In "Alexander Hamilton" and "Hurricane," the ensemble helps to visually recall Alexander's personal history in subtle but poignant ways.  Physically, it looked like the ensemble members did a lot more work than the leads, and their choreography was on point.
• The ensemble, the props, and the overall movement of actors and the double rotating circle in the stage floor created all the interest necessary for such a relatively plain set.
• Lafayette/Jefferson had a slightly higher pitched voice than I am used to, but it worked well. He also did some very different ornamentations in his singing which were really neat.
• It was a little easier to understand some of the lyrics during the live performance than on the recording, interestingly enough. I caught a couple of things that I had not picked up on while listening excessively to the soundtrack.
• I have two favorite desks of Alexander's: his lap desk in "Stay Alive," and the plank that gets held at an angle by the ensemble in "Nonstop" (I think)

ACT I

• This Aaron Burr had two very polarized sides to him. (Fun fact: the actor is transitioning to the Broadway cast in Aug/Sept '17.) He was a lot more matter-of-fact, almost snarky and seeking the humor in delivery. This took some getting used to, but it contrasted well with his more serious, softer side. It also sort of looked like he had a unibrow.
• Hamilton, Laurens, Lafayette, and Mulligan would be a phenomenal barbershop quartet.  Their four-part harmonies were tight and ever-so rich, even more so than the recording and particularly in "The Story of Tonight."
• Eliza seemed a little too nasal, very perky, and immature at first, but this evolved somewhat as her character matured.  It was different, but it worked.
• Abby and I (who are both music teachers) both agree that our favorite line of the show comes from Alexander in "A Farmer Refuted" - Don't modulate the key then not debate with me!
• King George. What can I say? He rolled his r's. He strategically raised an eyebrow. His subtle movements and dry humor stole the show in those moments.
• Washington seem very down-to-earth, especially in the deeply humanizing parts, and his voice was so sonorous and passionate. He also had impeccable and clear character development throughout the show.  (Abby thought he'd be great as Tom Collins in RENT.)
• The height difference between Washington and Hamilton was staggering. I didn't really notice Hamilton's height in comparison to other main characters.
• The way that Angelica portrayed her maturity, complexity, and passion in both her facial/physical expression and her voice was positively top-notch.  I wish could say more, but I can't put words to it.  She was just. that. good.
• I believe it was during "Guns and Ships" when a letter with request for Hamilton to return was delivered as the song unfolded, showing that it was physically mailed and took time to get to Alexander.  It went from Washington, up to the deck that wraps around 3/4 of the perimeter of the stage, between each of the ensemble members that were standing up there, around, and down to the other side where Hamilton was standing.  I loved how they did this.
• Hamilton's transition from Laurens' death to nonstop was too abrupt of a change from mourning to cockiness, in my opinion.  I wish he would've been more matter-of-fact and obviously driven than "I'm clearly better than you and going to rub it in your face," at least from the downbeat of the song through the initial courtroom scene.  Cockiness is necessary for that song, but not right away.

ACT II

• The Mulligan to Monroe change in character is so huge, and that actor nailed it. Also, it makes sense that he was holding a handkerchief and was acting ill; in "Cabinet Battle #1," Hamilton references Monroe needing to take his medicine, which by only listening to the recording you don't fully understand. 
• In "Cabinet Battle #1," I saw the aftermath of a mic drop and realized that I had looked away at just the wrong moment.
• The booming bass and twanging of the banjo in "The Room Where It Happens" was very interesting to hear on the sound system that they had set up. I recalled Lin's excitement over that during tech rehearsals as was shared in Hamilton: A Revolution.
• In "Take a Break," I was anticipating Eliza's beatboxing when Philip rapped. It was everything I wanted it to be.
• I always feel like it's weird pretending that the actor who plays Philip is nine.
• Peggy was portrayed appropriately young and tween/early teen-like.  Maria was the perfect foil.
• Holy cow, the sensual actions in "Say No to This" !!!
• Burr standing on the table and getting the tablecloth whisked out from under him in "The Room Where It Happens" was awesome. I could anticipate it coming just by what I was seeing, and I was really excited it was executed so well.
• Oh, the dramatic pauses and inflection in "Burn." SO good!  Also, I wonder where that stone bench is that Eliza kept using it for her relationship character development - maybe a garden at their home?
• In "Blow Us All Away," it was weird to see Philip interrupt an entire play to talk to George Eaker. Did stuff like that actually happened? The reaction of the fake actors during the fake play was much what I anticipate I would do if I was in that situation.
• The faster paced letter-delivering by ensemble members during "Your Obedient Servant" was a strong visual. It made the focus much more letter-based than directly confrontational, which was the accurate.  Burr and Hamilton were definitely passive aggressive in some ways.
• The last two songs were very overwhelming. Eliza in the final number was wonderful. I also really like her expression and the smile on her face in the last second before the blackout.
• The entire cast - all of whom fit in one line from edge to edge on stage - all bowed at the same time. I really like that.

I'm sure I could say more, but I'll leave you with these thoughts: 

What is a legacy? It's planting seeds in a garden you never get to see. 

You have no control who lives, who dies, who tells your story.

Look around, look around at how lucky we are to be alive right now!