‘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.

Max and Louie’s ‘Tiny Beautiful Things’ Resonates In Mighty Waves

Max and Louie’s ‘Tiny Beautiful Things’ Resonates In Mighty Waves

By Lynn Venhaus

Heart-tugging and hopeful, “Tiny Beautiful Things” strikes universal chords as it reverberates through a darkened theater.

Now playing at The Grandel, the deeply personal journeys of people who cared enough to reach out to another human, to make that connection in cyberspace, even when they were confused or desperate or sad or angry, will smack you upside your head, resonate emotionally, and may elicit a few tears and some smiles – if you let it pull you in (and why resist?).

Perhaps listening to four people be vulnerable will prompt the proverbial light bulb to come on, illuminating what’s going on in your life. Or by hearing about others’ experiences, you will be comforted too.

The well-worn themes of love and loss provide perspective in this adaptation of Cheryl Strayed’s best-selling self-help book, served up by Nia Vardalos with sprinklings of humor and heaping amounts of compassion. This is not your mom’s yellowed Ann Landers’ clippings.

“Tiny Beautiful Things: Advice on Love and Life from Dear Sugar” was published in 2012, a collection of essays from Strayed’s “Dear Sugar” advice column, which she wrote anonymously on The Rumpus, an online literary magazine. She took it over from her friend, Steve Almond, in 2010. The book also includes essays not previously published.

With a nudge from director Thomas Kail, who was given the book by journalist Marshall Heyman, Vardalos conceived it as a play, mixing in the author’s memoir along with the dating advice and grieving support.

It premiered at The Public Theater in December 2016, starring Vardalos as Sugar and three actors playing various e-mail letter writers, directed by Tony Award-winner and Emmy nominee Kail (“Hamilton,” “In the Heights,” “Fosse/Verdon”), and a revised version returned the next year.

The story’s framework is simple: The writer dispenses words of wisdom, an understanding achieved after many battles of her own, and because she is willing to expose herself to strangers, they in turn disclose their inner-most thoughts and feelings.

With such candid material to work with, producing artistic director Stellie Siteman and managing director De Kaplan knew it was the right choice for their company, Max and Louie Productions, to return with after a harsh 16 months that has changed us all.

Because we endured a pandemic period filled with isolation and self-reflection about our own lives, being with others post-coronavirus quarantine reinforces what we all know but need to be reminded about: We are not alone.

Even with the best of intentions, this could come across very Hallmark cards-like, reducing sentiments to those home décor signs urging us to “Forgive and Forget” or “Live Laugh Love,” but Vardalos and Strayed are too smart to settle for repeating platitudes, as are the women involved in this production.

Vardalos struck gold writing and starring in “My Big Fat Greek Wedding” two decades ago, earning an Oscar nomination in 2003, and Strayed, who was a troubled soul trying to come to terms with her past and present through a 1,100-mile hike in 1995, published that life-changing trek in the 2012 bestseller “Wild: From Lost to Found on the Pacific Crest Trail.” Both are grounded women who have achieved success representing their own lives so authentically, which is the foundation here.

Director Sydnie Grosberg Ronga understood the challenges of this piece and did not embellish it with any unnecessary frills. She approached the play in a straightforward and sincere manner, which is affecting and skillfully presented by this veteran cast, anchored with authority by Michelle Hand.

Greg Johnson and Michelle Hand. Photo by Patrick Huber

The creative team’s collaboration is subtle. The minimal scenic design by master of detail Dunsi Dai suits the intent. Ronga moved, with purpose, the actors around furniture that represents their characters’ homes – including a couch, a bed, a desk and a table. Everything appears lived in, with key items placed by props designer Katie Orr, and exudes a comfortable atmosphere, accented by lighting designer extraordinaire Patrick Huber. Costume designer Eileen Engel selected casual outfits appropriate to the roles.

Two large panels rise above – are those windows to the soul? Hmmm…This isn’t supposed to resemble a psychiatrist’s office, and the set intriguingly widens the reach while narrowing the focus.

As letter writers, versatile stage actors Greg Johnston, Wendy Renee Greenwood and Abraham Shaw strike different tones as they reveal what their assorted characters are looking for or what has defined each of their lives.

As the human faces of email exchanges, they present their questions and responses in a natural way, becoming a de facto support system and sounding board. One of Johnston’s characters blurts out WTF several times, amusing the audience with such a declaration. (The play contains some strong language and adult content).

As Sugar, Hand wrestles with confidence and her conscience, showing the growth of Cheryl and depicting the raw honesty for which the writer is known. That draws the other characters in, and us, too.

Writers are often hard to portray, especially typing at a computer, for the work is such an internal process — unless there are major conflicts. With this format, we don’t follow the 80-minute show like regular storytelling — nor does it reach a dramatic conclusion – but is moving nonetheless.

What makes this so touching then? Could it be as plain as seeking meaning while we find our way, holding on to ideals and keeping faith that things will turn out all right? Or it’s OK to say we aren’t OK? Because having lived through the uncertainty and anxiety of a public health crises, something we are still processing, this performance on Friday night seemed as warm as your grandma’s chunky hand-knit afghan and as familiar as a hug from a cherished loved one.

Strayed doesn’t profess to have all the answers, nor does she say she can fix everybody and everything. But by offering examples of her struggles, exposing herself so openly, somehow, we come out of the dark and into the light. It’s that simple, but that profound.

Hand approaches each role so genuinely that you believe whatever situation she is going through, whether she is Tami, the exasperated mother of an autistic son in “Falling” at Mustard Seed Theatre; Toril Grandal, a cook serving her family’s special pancakes with strawberries and whipped cream to world leaders, in “Oslo” at The Rep; or the broken-hearted lesbian artist Pickles in “Life Sucks” at New Jewish Theatre.

She is best at bringing the humanity out in her characters, real people portraits — (cases in point, Maggie Dalton in St. Louis Shakespeare Festival’s “Into the Breeches!”, who discovers her mettle while her husband is fighting in World War II, St. Louis Theater Circle Best Actress in a Comedy Award 2019; and innocent Rose Mundy, the intellectually challenged sister in “Dancing at Lughnasa” at Mustard Seed).

Anyone with a heart – lonely, heavy, hungry, normal – can relate to the personal stories shared. In a world where empathy seems to be in short supply, this work restores the belief that we get to carry each other, and through that, the broken can be healed.

If you crave the intimacy and insight that live theater can supply, “Tiny Beautiful Things” will reward you.

Wendy Renee Greenwood, Michelle Hand and Abraham Shaw. Photo by Patrick Huber

“Tiny Beautiful Things” is presented without intermission at the Grandel Theatre, 3610 Grandel Square in St. Louis, from July 29 to Aug. 8. Performances are at 2 p.m. on Aug. 1 and 8; at 7:30 p.m. on Wednesday and Thursday, Aug. 4 and 5, and at 8 p.m. Friday and Saturday, Aug. 6 and 7.

Tickets are on sale at www.metrotix.com or by phone at 314-534-1111 or at the box office an hour before curtain. Socially distanced reserved seating is restricted to groups of 2 and 4 consecutive seats, and booth seating is available for groups of 4 and 6. Masks are required.

Max & Louie Productions has received its Missouri ArtSafe certification. To ensure that they may create safely, present safely, and attend safely, they pledge to Covid-19 safe protocols which patrons are encouraged to view at Max & Louie Productions’ website at www.maxandlouie.com.