‘Hamilton’ Continues to Resonate With Its Signature Style In a Fresh, Vibrant National Tour at The Fox

‘Hamilton’ Continues to Resonate With Its Signature Style In a Fresh, Vibrant National Tour at The Fox

By Lynn Venhaus

A civics lesson brimming with dreamers and doers, the world now knows the name of a game-changing genius with an extraordinary verbal dexterity, who teamed with a creative cabinet of generational talents at their pinnacle, to present the revolutionary musical “Hamilton” that’s a revelation.

Founding Father Alexander Hamilton, the first Secretary of the U.S. Treasury, is the central figure in this retelling of history and political scheming, a fascinating inside view on the messy political process.

This monumental work by Lin-Manuel Miranda, who spent seven years writing the book, music and lyrics, was assisted by visionary choreographer Andy Blankenbuehler, director Thomas Kail and Alex Lacamoire, who supervised the music and arranged the orchestrations, to create a synergy that is a thing of beauty.

Now playing at the Fox Theatre in St. Louis, this grand and glorious work courses with electricity, wit and the words to make us better people – and citizens. It speaks to us on so many levels.

This mostly sung epic opera incorporates hip hop, jazz, R & B, pop and Broadway show tunes in a richly dense tapestry. While the score deftly blends different styles, the aching ballads “It’s Quiet Uptown” and heartbreaking “Burn” provide emotional depth.

The use of hip-hop gives it a freshness, an urgency and a unique rhythm. Hamilton’s smackdown on state’s rights vs. federal power, “Cabinet Battle 1 and 2,” should be the standard now for all history classes.

So much history and attitude are packed into the songs. The introduction of “The Schuyler Sisters,” who play an integral part of Hamilton’s personal life, leads to Eliza (Lauren Maria Soosay) and Alexander (Tyler Fauntleroy) falling in love and marrying (“Helpless”) and Angelica’s yearning “Satisfied.” Both Soosay and Marja Harmon, as oldest sister Angelica, have strong melodious voices that bring out the fire and the heart in their songs.

The lyrics have become part of our modern fabric, now ‘catch phrases,’ and you will never get these infectious beats out of your head.

The theatrical world has not been the same since the cultural phenomenon about “the $10 founding father without a father who got a lot farther by working a lot harder by being a lot smarter by being a self-starter” opened off-Broadway nine years ago.

Since “Hamilton” debuted on Jan. 20, 2015, at The Public Theatre in New York City, the musical’s impressive ground-breaking elements cannot be understated.

Miranda was inspired by the Ron Chernow biography to make Hamilton the centerpiece of a hopeful reflection on America as an ‘unfinished symphony.’

How much we learn about this penniless orphaned immigrant from the West Indies is an absorbing history lesson. His gift was his ability to communicate through the written word and public speaking, and that propelled him to be a force in our nation’s founding and our system of government.

Add the dynamic of being Washington’s right-hand man and how he interacts with his political rival Burr adds a complexity – and it is riveting. He embodied the revolutionary spirit that started The American Experiment, and we see his evolution. But his flaws as well as his fears, desires and regrets, are on display, too.

The recurring themes make this musical so compelling. To Miranda-speak, characters must enunciate clearly. Miranda’s stunning verbal dexterity and ability to condense and rhyme history, and make it accessible, is why he is a certified genius.(Seriously, won one of the 2015 grants from the MacArthur Foundation—the so-called “Genius” fellowships.)

The most nominated musical ever on Broadway (16), winning 11, one shy of the record, and winner of the 2016 Pulitzer Prize for Drama, in addition to Olivier Awards, Grammy Awards and a 2021 Emmy Award for Outstanding Variety Special – Pre-Recorded for the filmed performances that were recorded on June 25-26, 2016, with the original cast at the Richard Rodgers Theatre in New York City. Miranda, Kail, Blankenbuehler and Lacamoire also received an unprecedented Kennedy Center Honor for it in 2018.

Its third tour here lives up to its incredible reputation and remains one of the most significant and vibrant works of art ever.

The greatest live theatrical experience of my lifetime is how I first described seeing “Hamilton” in April 2018 at the Fox. Now, after seeing it again in 2022 and on Aug. 28, in addition to watching the film, including the Sing-Along version on Disney +, its magnificence is timeless – and timely.

On opening night you could feel the audience’s palpable electricity, like in the past, but this time felt a little different because it has become “an event.” You could hear it in the crowd’s reaction, how they anticipated lines because they were familiar, and shared a unified feeling.

It’s a sense of how lucky we were to be alive right now, to see “Hamilton” again. Everyone smiled hearing people chuckle as Justin Matthew Sargent made his entrance as the pompous King George. His break-up song “You’ll Be Back” is a crowd-pleasing ‘60s pop ditty that adequately captures the monarchy our “young, scrappy and hungry” rebels overthrew. Sargent makes the most of his nine minutes.

This show is performed by the Angelica Tour, and St. Louis is only the second stop of their national tour that began in Fayetteville, Ark. Passionately presented, this vibrant company showcases the heartfelt connections. The care, skill and attention to detail is obvious.

Overall, this ensemble is stronger vocally than the 2022 touring company, with A. D. Weaver a highlight as George Washington – delivering a rousing “One Last Time” that drew a thunderous ovation.

Some of the principals have been involved in previous tours – including the first Angelica one, Philip one and And Peggy. And a few were on Broadway. Jared Howelton, who’s a nimble Marquis de Lafayette and slick Thomas Jefferson, was a principal standby at the Richard Rodgers Theatre.

Jimmy “JJ” Jeter, who plays the unprincipled Aaron Burr, was instead in the title role on Broadway. He soars in the show’s best songs “Wait for It,” “Non-Stop,” and “The Room Where It Happens.”

The total sensory package that is Miranda’s masterpiece again left me in awe about its creative force and everlasting impact. The words, music, performances, and technical brilliance are unforgettable.

How it continues to resonate and remain fresh with its innovative storytelling while still inspiring in a thrilling patriotic way is a remarkable achievement. As it seamlessly unfolds, you see why it draws people back to see it again and again.

“Hamilton” is a vivid portrait of an infant country, imbued with Miranda’s optimism about what can be achieved, because look at how we started and what we’ve overcome.

The Tony-winning lighting design by Howell Binkley and costume design by Paul Tazewell add to the storytelling, and scenic designer David Korins’ stunning functional brick-walled set with scaffolds, catwalks, staircases and dexterous use of the turntable, which did not win the Tony, keeps everything fluid.

Enhancing the effect is Blankenbuehler’s imaginative choreography. The performers are seemingly non-stop, as movement matters, punctuating the action, and creating this mesmerizing diorama.

Special shout-out to Nathanael Hirst of Belleville, who is a dancer, and portrays George Eacker (who shoots Philip Hamilton) and “Men No. 3.”

A musical about history that made history, it wasn’t as if Miranda was an unknown, but history sure had its eyes on him. He wrote and starred in the Tony-winning 2008 musical “In the Heights,” was co-composer and lyricist with Tom Kitt and Amanda Green for “Bring It On!” in 2011 (produced by the Mike Isaacson-led Fox Theatricals) and at Stephen Sondheim’s request, wrote Spanish dialogue and lyrics for the 2009 Broadway revival of “West Side Story.”

In 2009, Miranda was invited to the White House to share what he was working on during a night of poetry-inspired entertainment. President Barack and Michelle Obama were a little taken aback by his concept – a hip-hop concert album about a founding father who wasn’t president. Well, the rest, as they say, is history.

Since “Hamilton” became a landmark and won numerous accolades, Miranda has gone on to further acclaim. He directed the Jonathan Larson musical ‘tick, tick…Boom!” film adaptation in 2021, and performed in the animated film “Vivo,” musical adaptation “In the Heights,” and as Bert in “Mary Poppins Returns.”

He was Emmy-nominated as guest actor for hosting “Saturday Night Live” in 2016 and as guest actor on “Curb Your Enthusiasm” in 2018 and won an Emmy for producing the limited series “Fosse/Verdon.”

He has been nominated twice for Best Original Song at the Academy Awards, for the animated Disney movies “Moana” in 2017 and “Encanto” in 2022, and received two more Grammy Awards. He wrote original music for Disney’s live-action remake “The Little Mermaid” and the upcoming “Moana 2” and “Mufasa.” Still making history.

“Hamilton” remains a must-see. A swirling mix of craft, art and talent, “Hamilton” has a signature style that is unmatched. Seeing it again gives us a chance to discover new things and marvel over the rhythms and harmonies. Every performance makes America more beautiful.

Hamilton

The Fabulous Fox presents the national tour of “Hamilton” in St. Louis Aug. 28 – Sept. 8. For more information, visit www.fabulousfox.com and for tickets, www.metrotix.com. More tickets are released daily. There is a #Ham4Ham lottery, where the chosen 21 can purchase $10 tickets for 2. There are also rush tickets on Tuesdays, Thursdays and Sundays.

Note: The production photos by Joan Marcus are from a previous tour, not the current tour.

The Muny’s Festive ‘Joseph’ Puts Audience in a Golden State of Mind

The Muny’s Festive ‘Joseph’ Puts Audience in a Golden State of Mind

By Lynn Venhaus
As frothy as a cappuccino and sweet as cotton candy, “Joseph and the Amazing Technicolor Dreamcoat” took hold of The Muny stage as a swirling kaleidoscope of color, a glittery burst of cheer from a youthful ensemble that brings it home.

In the first full season after the challenging post-pandemic years 2020-2021, The Muny wraps up a groundbreaking summer with this beloved big, splashy musical that has been here six times. Last produced in 2012, the show first arrived in 1986 and returned in 1997, 2002 and 2007.

With its technical razzle-dazzle matched by the effervescent Muny Kids and Teens in the youth ensemble and children’s choir, the entire company looked like they were at the happiest place on earth.

That engaged the crowd, and the charismatic principals Jason Gotay as golden child Joseph, Jessica Vosk as the regal Narrator, and Mykal Kilgore as the swaggering Pharoah elevated the wispy material, delivering knock-out performances.

Narrator and Potiphar. Photo by Phillip Hamer.

However, the show is not without heartache and adversity – with a turnaround because of strength, perseverance, and blessings, for it is based on the Old Testament Book of Genesis tale of Jacob, his favorite son Joseph, his 11 other sons, and that famous coat of many colors.  

After Joseph’s jealous brothers sell him into slavery, he impresses the Egyptian noble Potiphar, but then rejects his wife’s amorous advances, and is thrown in jail. While locked up, Joseph’s talent for interpreting dreams is put to good use. He ingratiates himself with the Pharoah because he offers a solution to the country’s famine, and that stroke of fortune results in Joseph becoming the Pharoah’s right-hand man. He is eventually reunited with his family.

In the stylized re-imagining by composer Andrew Lloyd Webber and lyricist Tim Rice, the story is told through song and dance.

Considered innovative in the 1970s, the musical comedy has expanded over time, and is now regarded as a family-friendly favorite staged by thousands of schools and groups in the U.S. and across the pond. 

The EGOT duo began this journey collaborating for the second time in 1968. Commissioned by a music teacher who was a family friend of Webber’s, their 15-minute pop cantata was performed at the Colet Court School in London. After more tinkering, it was recorded by Decca Records in 1969.

When their next piece, the rock opera “Jesus Christ Superstar,” skyrocketed them to fame in 1971, the earlier musical was stretched to 35 minutes for the Edinburgh International Festival the next year. More modifications followed, and the modern format was staged in 1974. It was mounted on Broadway in 1982 and nominated for seven Tony Awards. Revivals, tours and a 1999 direct-to-video film starred Donny Osmond followed.

Like the other pop Biblical musical of that era, Stephen Schwartz’s “Godspell,” it is re-interpreted for every presentation. Consider this the theme park ride version, with the youngsters displaying as much energy as those attending summer cheerleading camps.

Photo by Phillip Hamer.

It’s a swell dance party, briskly performed in several celebratory scenes and elaborate pastiches – including countrified “One More Angel in Heaven/Hoedown,” the French-inspired lament “Those Canaan Days,” island-flavored “Benjamin Calypso” and the grandmaster flashy finale “Megamix.”

The pleasant pop-py tunes “Any Dream Will Do” and “Go, Go, Go Joseph.” are certain to be hummable on your way home.

Music director Charlie Alterman, who won last year’s St Louis Theater Circle Award for “Chicago,” is adept at lively shows with many moving parts and his orchestras are a treat to listen to — and he’s aware of the Muny’s pit challenges this season.

Of course, a show directed and choreographed by Josh Rhodes would seize the day. Rhodes, who is known for his athletic and acrobatic dances, returns after successes helming “Jersey Boys,” “Paint Your Wagon” and that stunning tap number to “Putting on the Ritz” in 2016’s “Young Frankenstein.”

This is a show that requires a special set of skills, and Rhodes’ crisp and snappy choreography is flat-out fun. He was aided by associate choreographer Lee Wilkins and dance captain Emilie Renier.

In its last national tour in 2014, the ingenious three-time Tony Award winner Andy Blankenbuehler directed and choreographed a fresh interpretation that ran at the Fox Theatre that spring. That show featured American Idol finalist Ace Young as Joseph and his wife, fellow finalist Diana DeGarmo, as the Narrator.

The role of Joseph is often filled by a pop star – and teen heartthrobs David Cassidy, Andy Gibb and Donny Osmond have played the lead before. (And first American Idol runner-up Justin Guarini, who has played various roles at the Muny, was Joseph in 2012.)

At the Muny, Jason Gotay has won over hearts as a charming leading man, appearing as Prince Eric in “The Little Mermaid,” Prince Topher in “Rodgers + Hammerstein’s Cinderella” and as Jack in “Into the Woods.”

His strong velvety vocals emphasize he is no lightweight, heart-tugging in “Close Every Door.”  He commands the stage confidently, capably leading the large cast in the group numbers.

Mykal Kilgore as the Pharoah. Photo by Phillip Hamer.

However, the showstopper in this production is Mykal Kilgore.

One of my favorites since I saw him at the Muny Magic concert at the Sheldon in 2017, the affable Kilgore slays as the megawatt Pharoah. It’s as if James Brown and Little Richard had a baby.

 In a departure from the previous Elvis-like personas, Kilgore reaches back to his R&B roots for “Song of the King,” bringing the house down. The Pharoah’s stage time is brief, but his impact is mighty.

Jessica Vosk makes her Muny debut, playing a hands-on narrator who just doesn’t just observe the action from the sidelines, but propels it along. Here, she is a surrogate mother hen to the youngsters as she tells the tale.

Vosk has the powerful pipes to fill an arena and is well-suited for this grand production. She has played the role before, in the 50th anniversary show at the Lincoln Center, and is remarkably assured while the action bubbles up around her.

Other noteworthy debuts are multi-hyphenate Eric Jordan Young in the dual role of well-meaning Jacob and flamboyant Potiphar, and Darron Hayes as playful Judah, who takes the lead in “Benjamin Calypso.”

The adult choir is chock-full of Muny regulars, and some familiar castmates are playing brothers. Dynamic Harris Milgrim, a standout as Benjamin in last year’s “Seven Brides for Seven Brothers,” is again as Reuben in “One More Angel.”

Sean Ewing, in his third season at the Muny, is second son Simeon, amusing in “Old Canaan Days.”

Not all the hijinks work, for the mashups often are silly, and the gaudy pageantry can easily slide into trivial frivolity, but that’s the problem with the show itself. As the years ago on, they keep gilding the lily, adding more to an already over-the-top show. But it remains a huge crowd-pleaser.

And the joyous look on those kids’ faces on stage said it all. (I counted 40 in the youth ensemble and 14 in the children’s choir, in addition to the 19 in ensemble, not to mention principals.)

Photo by Phillip Hamer.

Edward E. Haynes Jr., the award-winning scenic designer for “Smokey Joe’s Café” last year, combines glitz, a Skittles rainbow of bold colors, and Egyptian symbols for the second act, in a whimsical set reminiscent of Tim Burton and the Marvel superheroes’ cinematic universe.

In a stunning backdrop, he references King Tutankhamen’s gold headdress in a giant piece anchoring a fancy staircase with neon piping..

Video designer Greg Emetaz is in sync with Haynes’ vision, and an extension of the gold-plated theme uniting the looks is on the LED screens.

Costume designer Leon Dobkowski references Vegas showgirls, exotic images and B.C. looks to create sparkly outfits and a sunny vibe. His elaborate headdresses are something special to see. The different gold fabrics stand out in garments, and kudos to wig designer Kelly Jordan for the Pharoah’s massive ‘do.

Jason Lyons’ lighting design capitalizes on the wonder and magical parts, and smartly ascertains between the dreamy sequences and the dark times.

It’s fitting that The Muny focused on home, family, relying on each other and connection for the last show of the 104th season, particularly after what they endured from mid-June to now with the double-whammy of back-to-back floods, extreme heat – even by St. Louis standards (oh you layered Edwardian Londoners in “Mary Poppins”!), and a new strain of COVID-19 on the rise in the region (but thanks to understudies and swings, the shows went on).

In his annual farewell address, Mike Isaacson, executive producer and artistic director since 2011, joked that the season was ‘biblical,’ and who could argue?

Known for its fizzy fun, “Joseph” delivered a spectacle to end the season on a high-spirited note.

If you think of the Muny in terms of a summer vacation, “Chicago” was nightlife fun, “Camelot” was a Renaissance Faire, “Mary Poppins” was a trip to the Magic House, “Legally Blonde” was a class reunion, “Sweeney Todd” was visiting the Louvre, “The Color Purple” was the Smithsonian and “Joseph and the Amazing Technicolor Dreamcoat” was a trip to Disneyland.

Until we meet again under the stars in Forest Park, here’s raising a glass to a summer tradition that I am grateful for, and will never ever take for granted.

Cast of ‘Joseph.’ Photo by Phillip Hamer.

The Muny presents the musical “Joseph and The Amazing Technicolor Dreamcoat” Aug.13-18 at 8:15 pm. Performances take place on the outdoor stage in Forest Park. For more information, visit www. muny.org.

Eric Jordan Young. Photo by Phillip Hamer.

Stages St Louis ‘In the Heights’ Celebrates Culture And Connection

Stages St Louis ‘In the Heights’ Celebrates Culture And Connection

By Lynn Venhaus

A jubilant celebration of culture, community, and connection, “In the Heights” is a warm embrace emphasizing the meaning of home.

This Stages St. Louis production sizzles with its scrupulous staging and splendid ‘triple-threat’ cast. Director Luis Salgado, whose heart is big as the George Washington Bridge in New York City, makes the show ‘pop’ with his spirited direction and vibrant choreography.

The ensemble makes its mark individually — impressive as personalities but they come together as a whole, with a spark that lights up the stage like Fourth of July fireworks.

From the uplifting title song that introduces the cast, they will quickly endear because of their characters’ devotion to their friends and family, sharing heartwarming stories and creating a tapestry in their little corner of the world.

This version’s brilliant burst of energy is because of Salgado’s inspiration and his unwavering commitment to the musical that began 15 years ago. His effusive motto “Dare to go beyond” is apt here.

As a performer and emerging choreographer, Salgado was involved in the original work – with 118 performances off-Broadway in 2007 and nearly 1,000 on Broadway (2008-2010). He was assistant to three-time Tony winner Andy Blankenbuehler (“In the Heights,” “Hamilton,” “Bandstand”).

Amanda Robles, Marlene Fernandez and Ariana Valdes. Photo by Phillip Hamer.

Blankenbuehler had brought Salgado on board to give authenticity to the show’s movements and to help bring the creative team’s vision to life. He described Salgado as “passionate” and “inventive.”

Their mutual admiration society has resulted in Salgado using Blankenbuehler’s original choreography on the sensational ensemble numbers “In the Heights,” “96,000,” “Blackout” and “Finale.”

However, Salgado isn’t the only original connection involved at Stages.

Anna Louizos, Tony nominee for the show’s scenic design, designed the Ross Family Theatre’s richly textured set, creating the Washington Heights neighborhood that comes alive in a stunning recreation inside the Kirkwood Performing Arts Center.

This is an ideal setting for such an exuberant group sharing their hopes while struggling with everyday realities. “In the Heights” takes place over the course of three days, during a blistering summer heat wave in the barrio, which is on the brink of change.

Creator of the historic and cultural phenomenon “Hamilton,” Lin-Manuel Miranda’s first Tony-winning musical in 2009 was special because it had a specific sense of place and resonated with a universal story about people chasing their dreams.

Manuel honored his Latin heritage and cultural traditions as an American whose parents came from Puerto Rico, growing up in Washington Heights (where he still lives). He included the Dominican Republic, Cuba, Mexico, and Caribbean Islands as origins, too.

The pulsating score is a hybrid of Latin, urban, hip-hop and salsa beats but also features touching ballads. Miranda was the first composer to put hip-hop lyrics in a Broadway show — and the youngest to win the Tony for Best Music Score in 2009.

Ryan Alvarado grew on me as the hard-working, good-hearted Usnavi de la Vega, the owner of a local bodega who dreams of selling the store and moving to a tropical place where he feels he can be happy. He’s the lynchpin to all the action swirling around him.

Tami Dahbura as Abuela Claudia. Photo by Phillip Hamer.

His confidante, Abuela Claudia, who dispenses advice – and love – to the neighborhood denizens, is the heart and soul of the show, and Tami Dahbura stood out in her heart-tugging numbers, “Paciencia y Fe” (Patience and Faith) and “Hundreds of Stories.”

Isabel Leoni as Nina and Amanda Robles as Vanessa are high points, showcasing their outstanding voices. You feel a connection with their characterizations immediately.

Nina, the golden girl who landed a scholarship at Stanford University, was a role model for many but now she is disappointed with herself and feels she let everyone down. She delivers a poignant “Breathe” and a sentimental tribute “Everything I Know” with much passion.

Usnavi’s crush, hairdresser Vanessa, is someone who sees moving to Manhattan as a steppingstone to a better life. Robles soars in “It Won’t Be Long Now,” joined by Alvarado, who clearly wears his heart on his sleeve, and the whirlwind Luis-Pablo Garcia as his cousin Sonny.

Robles, Alvarado, Garcia. Photo by Phillip Hamer.

While the robust and oh-so-catchy “96,000” is Usnavi’s big number dreaming about winning the lottery, Robles shines in her part. Closer to the finale, Robles and Alvarado have sweet, tender and funny moments in “Champagne.”

The most moving song of all is “Alabanza” (Praise) in honor of Abuela Claudia, such love and respect expressed. It just may bring a tear to your eye.

Quiara Alegría Hudes wrote the musical’s original book, and it’s noteworthy regarding all the strong women role models, including Camila, Kevin’s wife and partner in a car service business, in addition to Abuela Claudia, Nina, Vanessa, hairdresser Carla and salon owner Daniela.

Tauren Hagans excels in her two solo numbers “Siempre” (Always) and “Enough” as Nina’s strong mom Camila, and the four younger women have fun with “No Me Diga” (You Don’t Say!).

 Jahir Lawrence Hipps is impressive as Benny, who works for Nina’s intense dad Kevin (Edward Juvier). But when he falls in love with Nina, that’s another story.

Leoni and Hipps. Photo by Phillip Hamer.

The duets featuring Hipps and Leoni are lovely – especially “When the Sun Goes Down” and they superbly lead the company on “When You’re Home” and “Sunrise.”

Juvier, a Stages veteran, with a St. Louis Theater Circle Award for Outstanding Supporting Actor in a Musical for “The Drowsy Chaperone” in 2017 and a nominee in “My Fair Lady” in 2014, was Bob Crewe in “Jersey Boys” last summer.

As the demanding dad Kevin, he showcases his vocal prowess in “Inutil” (Useless) and “Atencion” (Attention).

Comical relief is welcome when crowd-pleasers Cristian Rodriguez as Graffiti Pete and Michael Schimmele as Piragua Guy are on stage, as well as the salon’s Carla, firecracker Marlene Fernandez, and Ariana Valdes as the animated owner Daniela, who leads the buoyant “Carnaval del Barrio” (Neighborhood Carnival).

Fernandez, Schimmele and Valdes. Photo by Phillip Hamer.

And Garcia, who was memorable as Freddy in “The Karate Kid – The Musical,” is in a league of his own, as cheerful chatterbox Sonny, stealing practically every scene he’s in, eliciting laughs every time he’s on stage.

The sprightly ensemble includes Tavis Kordell Cunningham, Mauricio Villanueva Espinosa, Carmen Guynn, Sarah Hampton, Paola Hernandez, Karma Jenkins, Ricco Martin Jr., Jovany Ramirez, Joey Rosario and Carlita Victoria.

Music Director Walter “Bobby” McCoy keeps the tempo lively and brings out the emotional sincerity in the ballads, using the arrangements and orchestrations of Tony winner Alex Lacamoire and Bill Sherman.

As the conductor and a keyboard player, McCoy has a dynamic orchestra that flavors the Latin score with their expert musicianship in strings, woodwinds, brass, and percussion. Trumpet player Chris Miller brings such a great sound to “The Club/Fireworks” while the percussion’s driving beat is such a treat. Ovations for McCoy, Miller, associate music director and bass Alerica Anderson, Sean Andrews on second keyboard, Travis Mattison on guitar, Lea Gerdes on reeds, Evan Palmer on trombone, Charles “Chuck” Smotherson on drums and Peter Gunn on percussion.

Hagans and Juvier. Photo by Phillip Hamer.

Bethany “Beef” Gratz’s sound design is exceptional — smooth and crystal-clear, capturing not only three generations of rhythms but the ambiance of the neighborhood.

Costume Designer Brad Musgrove outfits the vivacious residents in casual, colorful summertime attire, with a few dress-up glam looks, while Sean M. Savoie’s lighting design is a striking enhancement on the day’s progression and the nighttime worries. 

Salgado’s joy regarding the material infuses the entire production, as he moves things at a vigorous pace from well-staged big numbers to intimate emotional scenes. Special mention to assistant director and associate choreographer Bryan Ernesto Menjivar and dance captain Megan Elyse Fulmer, for this show is a terrific example of teamwork and collaboration.

This uplifting show had me on my feet and humming the songs afterwards, putting the cast album back on rotation at home. If anything can change a mood, it is this 23-song collection and this exciting ensemble that aims for the heart and has us at “Hola!”

Amanda Robles as Vanessa. Photo by Phillip Hamer.

Stages St. Louis presents “In the Heights” from July 22 to Aug. 21 at the Kirkwood Performing Arts Center in Kirkwood, Mo. Performances take place in the Ross Family Theatre. For more information: www.stagesstlouis.org

Photo by Phillip Hamer

‘Hamilton’ the Movie Meets the Moment

‘Hamilton’ the Movie Meets the Moment

By Lynn Venhaus

The movie “Hamilton” meets the moment! Creator Lin-Manuel Miranda’s game-changer remains a vibrant experience five years after opening on Broadway. Its brilliance shines brightest with the original cast, and its synergy is a thing of beauty.

The cultural phenomenon “Hamilton,” the most nominated musical ever on Broadway and winner of the 2016 Pulitzer Prize for Drama, had two performances recorded on June 25-26, 2016, at the Richard Rodgers Theatre in New York City. This is after the musical won 11 Tony Awards, one shy of the record, and while the original cast was still intact. Founding Father Alexander Hamilton, the first Secretary of the U.S. Treasury, is the central figure in this retelling of history and political scheming. It also includes Hamilton’s family and romantic drama, based on Ron Chernow’s biography.

Miranda’s masterpiece is a hopeful reflection on the ‘unfinished symphony’ that is America – he presents a history lesson, inside view on the messy political process and an amalgam of modern and Broadway styles of music in a grand and glorious way.

Miranda, who wrote the book, music and lyrics, also stars in the title role. He cast black, Latino and Asian-Americans as the characters – “it is about America then as told by America now.” This ensemble is the gold standard – particularly Tony Award winners Leslie Odom Jr. as Aaron Burr, who resents the ambitious Hamilton’s easy climb; Daveed Diggs as loyal Lafayette in the first act and cocky Thomas Jefferson in the second; and Renee Elise Goldsberry as fiery Angelica Schuyler, whose sweet sister Eliza marries Hamilton; plus nominees Christopher Jackson as an imposing George Washington, Phillipa Soo as the kind-hearted wife Eliza and Jonathan Groff, who makes the most of his nine minutes as the snooty and catty King George.

Hamilton’s a fascinating human, and his journey keeps us riveted through his personal evolution and the birth of our nation. His rivalry with Burr adds a complexity – their flaws, fears, desires and regrets fuel the story. Odom has some of the show’s best songs – “Wait for It,” and “Non-Stop,” and his introduction “Talk Less” is memorable.

Featuring a score that blends hip-hop, jazz, R&B, pop and traditional Broadway show tunes, “Hamilton” is a revolutionary moment in theatre, and you won’t be able to get those songs out of your head: “My Shot,” The Story of Tonight,” “The Room Where It Happened,” “Who Lives, Who Dies, Who Tells Our Story,” “History Has Its Eyes on You” and “The World Turned Upside Down.” The Cabinet Battles are comical and thought-provoking at the same time.

The Schuyler Sisters have a sensational introduction – and Peggy (Jasmine Cephas Jones), and the songs “Helpless,” “Satisfied,” “Burn” have real depth from a female point of view. “It’s Quiet Uptown” will tug on your heartstrings.

Already, the staged musical has had profound impact on culture, politics and education, and you will see why, as Hamilton the movie transports the audience inside the Broadway show in an intimate way. (I spontaneously broke into applause a few times).

As for the ‘film’ part, we might not be in the room where it happened (Richard Rodgers Theatre) but what it lacks in the palpable energy only live theater produces, it trades for the emotions you connect with in the close-ups.

Declan Quinn’s cinematography and Jonah Moran’s editing gives us a crisp perspective. And the skill of that team — Thomas Kail’s seamless direction, Alex Lacamoire’s exquisite orchestrations and conducting, Andy Blankenbuehler’s fluid and innovative choreography and Manuel’s smart and clever words and music — are a swirling mix of craft, art and talent.

With use of steady-cam, crane and dolly, the multiple cameras create a view you would not have seen – even if you been fortunate enough in the first couple of rows. We also benefit from it being performed before a live audience – their reactions give ours some vitality. Lafayette’s line: “Immigrants – we get the job done!” produces the loudest applause.

I saw the musical once two years ago, on its first national tour at the Fox Theatre in St. Louis, and even with its cavernous 4500 seats, was gobsmacked. It was among the best theatrical experience ever – and lived up to the hype.

This view has new opportunities for discovery, to marvel at Manuel’s attention to detail and his nimble storytelling. The recurring themes and repetitive nature of the score add texture to the rhythms and harmonies, and the cast’s enunciation and verbal dexterity is remarkable.

In 2009, Miranda was invited to the White House to share what he was working on during a night of poetry-inspired entertainment. President Barack and Michelle Obama were a little taken aback by his concept – a hip-hop concert album about the founding father who is on the $10 bill. OK. Well, the rest, as they say, is history.

And Manuel has made history. An Emmy, Tony and Grammy Award winner, among his theatrical accomplishments — he wrote and starred in the Tony-winning 2008 musical “In the Heights,” was co-composer and lyricist with Tom Kitt and Amanda Green for “Bring It On!” in 2011 (produced by Mike Isaacson-led Fox Theatricals) and at Stephen Sondheim’s request, wrote Spanish dialogue and lyrics for the 2009 Broadway revival of “West Side Story.”

“Hamilton; An American Musical” opened at the Public Theatre on Jan. 20, 2015 and moved to Broadway that August. Because of the demand for tickets, he created the “Ham4Ham” lottery ($10 tickets for first couple of rows), but those who couldn’t get to Broadway or afford the sky-high ticket prices, can see the next best thing. The unforgettable theatrical experience has been made accessible for an even wider audience to appreciate.

The lighting design, by Howell Binkley (Tonys for both “Hamilton” and “Jersey Boys”), is effective on screen. Paul Tazewell’s costumes and David Korins’ deceptively simple brick-lined set designs of scaffolds, catwalks and staircases add to the show’s signature style and cohesiveness.

The film was slated for an October 2021 theatrical release, but the decision was made to stream through Disney Plus ($6.99 a month subscription or $69 for the year).

What a wonderful way to celebrate the birth of our nation and see its impact today, after a grave period of uncertainty, unprecedented pandemic and level civil unrest not seen in 50 years. It feels more urgent as a call to action, to keep this great American experiment a righteous one.

The care and skill that went into this production is obvious. “Hamilton” deserves a standing ovation in every living room across this great country of ours. The musical makes America more beautiful this Independence Day weekend.

“Hamilton” is a filmed musical directed by Thomas Kail, starring Lin-Manuel Miranda, Leslie Odom Jr., Daveed Diggs, Renee Elise Goldsberry, Phillipa Soo, Christopher Jackson and Jonathan Groff. Rated: PG-13 for language and some suggestive material, it runs 2 hours 40 minutes with 1-minute intermission. Lynn’s Grade: A Streaming on Disney Plus beginning July 3.