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.

C

By Joe GfallerContributing WriterIt is often said that crisis brings a community together. Too often in recent years real or manufactured crisis in our communities seem to have done the opposite, deepening dividing lines, bringing out the worst and not the best in people. Perhaps that is why the joyous and poignant national tour of “Come from Away,” now playing at the Fox Theatre is so refreshing and beautiful: it gives hope that on our worst day, we are all capable of finding our best selves.

The worst day in question here is September 11, 2001. The idea that a musical could be written about such an enormous tragedy and contain even a note of laughter may be surprising to some. But “Come From Away” is less about the events of that day and more about our collective memory of them. The events of 9/11 are indelibly burned into our minds, and those memories come forward whenever anyone asks “Where were you when…” We each have our story. Each is incomplete. As you begin to put them together, the picture gets fuller and richer. Eventually, with enough stories in the picture, it almost feels whole.

That kind of intentional story telling is very much the model of “Come From Away.” Like The Laramie Project or House of Cards, the musical establishes a narrative device that allows each character to tell you their first-person accounts of the events – and then slip right into the events themselves.

When their accounts converge into one common idea (the uncertainty of being on a grounded jet for hours, the search for hope in prayer, the escape of party in a pub), their stories turn into full ensemble numbers that seamlessly weave those many voices together, not as a traditional chorus – but as a community in action.

If you were to ask each of the people whose stories are told in “Come From Away,” “Where were you when…” they would all have the same answer: Gander, Newfoundland. For it’s here that around 7,000 airline passengers were stranded for nearly five days, starting on September 11, once the United States closed its borders to airline travel.

For the 9,000 people already there, for nearly a week, they played unexpected host to the world. “Come From Away” lets us see how both the Islanders and the “Plane People” were changed by that brief encounter – and changed, refreshingly, for the better.

To tell this story, “Come From Away” uses an ensemble of only 12 actors. At times, their virtuosity moving from character to character on a moment’s notice with just the change of a hat or a jacket makes you assume that there are far more people on stage. It’s a marvel to behold. Director Christopher Ashley and musical staging supervisor Kelly Devine deserve high praise for the ever-nimble staging and the sharp, clear character choices that differentiate the many roles each actor plays.

Within the ensemble, no one role is designed to be a star
turn. Rather, we get story lines that develop as each of the characters build
relationships during their five days together.

Diane, played with heart and zeal by Christine Toy Johnson, is a divorced mother on her way home to Dallas who happens to be sitting next to a well-intentioned but socially awkward Brit named Nick, given a deeply endearing rendering by Chamblee Ferguson. Together, stuck on their American Airlines plane on the Gander tarmac, both feeling alone and “so damn helpless,” they start to get to know each other. Once off the plane, their paths continue to cross until (after perhaps one too many drinks) Diane is given the choice to either kiss a cod or kiss Nick. You can guess which she picks.

Ferguson’s gentle awakening to the fact that he might have feelings for this stranger is touching – particularly in the moment that he finds out that the father of Diane’s child in Dallas is her ex-husband and not currently her husband. And the freedom which Johnson embraces to be the best version of herself in a place where no one knows her is exhilarating — even if the only reason her hair looks so different is that she hasn’t been able to shampoo for 3 days).

That very freedom is what wears upon the other central couple in the show, Kevin T and Kevin J. While Kevin T, played with giddy enthusiasm and a casual charm by Andrew Samonsky, is ready to embrace the adventure of meeting new people in a new place, the longer Kevin J, given a grounded, if slightly arch performance by Nick Duckart, stays in Gander, the more he realizes the place he wants to be is Brooklyn, where he grew up, with the family who needs him. Kevin T never seems to grasp his partner’s struggle – and while it comes as no surprise their relationship does not last until the end of the show, it is certainly a disappointment.

Danielle K. Thomas gives a heartfelt performance as Hannah, a mother whose son is a New York City firefighter. Her struggle to reconcile the fact she cannot be with him is expressed movingly in one of the show’s few true solo numbers “I Am Here.”

The friendship she builds with Newfoundlander Beulah, in a stern but kind performance from Julie Johnson, becomes her lifeline when her son’s voicemail becomes too full to accept new messages and increasingly the worst seems to be around the corner.

But love takes many forms in “Come From Away.” For Beverley, a pilot, her love is flying, despite all odds. Based on a real person, she was the first female pilot to be made captain by American. Her heartbreak comes in “Me and the Sky,” when she realizes now that the one thing she loves most has been turned into a bomb, she can never love it the same way again. Becky Gulsvig gives Beverly strength and conviction in equal parts, a complete 180 degree turn from her other role, a naïve school teacher who seems to find the prospect for love in every male Plane Person she meets. The characters are so different, it took me almost until the end of the show to realize they were played by the same actress.

If Beverly is trying to find order on her plane, Gander’s mayor Claude, played with a twinkle in his eye by Kevin Carolan, and police officer Oz (Harter Clingman, in one of the show’s smaller roles) are trying to create order in the town. Carolan gets to play not just one mayor, but all four mayors in the area with the quick changes of a hat, a moustache, and a pair of glasses. Presiding over a fanciful ritual to turn the Plane People into Newfoundlanders, he gets to lead one of the most delightful sequences in the show and does it with plenty of aplomb.

Emily Walton, as Gander’s new TV anchor Janice, is a breath
of fresh air throughout – no more so than when she makes a desperate plea to
the extremely generous people of Gander: “For the love of God, stop bringing
toilet paper to the Lion’s Club.” As Bonnie, Megan McGinnis balances humor with
heartfelt concern for the animals left with the checked luggage in the
airport’s 38 airplanes.

As Bob, an African-American New Yorker separated from his family, James Earl Jones II finds humor in some very complicated dynamics about race. Sent by one of Carolan’s many mayors to collect grills from people’s yards for a cookout, he expects to get shot by angry homeowners – and instead is offered tea. When asked back in New York if he was “OK” during those five days in Gander, he realizes that “I wasn’t just OK. I was somehow better.”

Over the course of this crisp one-act musical, that seems to be the message. If it’s possible to be better in a time of crisis, can’t it be possible to be better without the crisis? You don’t need to have a lot of resources to do the right thing. The people of Gander certainly don’t.

There seems to be some intentional alignment between this idea in the script and the way the design of the musical is so eloquently and simply delivered. The set, by Beowulf Boritt, consists of two tables and many chairs, contained within a series of trees that — like the actors themselves — play double duty, in this case, both as set pieces and light trusses. The costumes, by Toni-Leslie James, couldn’t be more simple and effective for the litany of each actor’s many character changes. The same could be said for Howell Binkley’s lighting, which moved us from air traffic control to the interior of an airplane to a Tim Horton’s with remarkable speed and clarity.

The orchestrations are wildly resourceful as well, with only eight musicians serving as the band for a musical in such an enormous theater. Cynthia Kortman Westphal conducted, while also playing keyboard, accordion, and harmonium – with almost every other musician doubling on two or more instruments throughout the show. The musicians sit at the periphery of the stage and join the cast for “Screech In,” the party sequence at a bar – integrating seamlessly into (and then back out of) the action. As part of the curtain call, it was a real treat to see them take center stage to play a joyful sendoff for everyone.

For the finale of “Come From Away,” we jump ahead 10 years to 2011 and to the anniversary of these men and women arriving in Gander. No longer is fear of the unknown present as it was in 2001 – Islanders not knowing if they are prepared to take care of so many unexpected temporary migrants, Plane People not knowing when or how they would see their families again. Instead, the mood is one of joy. “We honor what was lost, but we commemorate what was found,” says the mayor.

By this point, with all the doubling of roles, we in the audience lose track as to which of the twelve actors are supposed to be which characters. Are they Plane People or are they Islanders? In our own lives, we can each have moments when we are the Plane People – the unsettled, the displaced. But we can all have moments when we chose to be the Islanders – radically generous, supportive, welcoming. So as “Come From Away” ends with the chorus of “I am an Islander,” you realize it doesn’t matter if you were a Plane Person or an Islander at the start. Every character in the musical has become an Islander by the end.

And one wonders if by the end, each of us the audience has cultivated our potential to become more of an Islander ourselves.

The Fox Theatre presents the Tony Award-winning musical, “Come from Away,” now through May 26. For tickets or more information, visit www.fabulousfox.com. Call Metrotix at 314-534-1111.