Lin-Manuel Miranda is a household name in the contemporary entertainment industry – and not least: his main film credits include ‘Moana’ and ‘Mary Poppins Returns’, working together with her incredible musical skills. and performance to delight the public around. of the world. However, Miranda got off to a good start before moving anyone who dared to pay the least attention to her creative genius with “ Hamilton, ” a musical that migrated from home performances to off-Broadway stages until it hit the stage. fame in the world’s greatest theaters (reaching even reaching the White House with unparalleled strength).
But what is the reason for such success? Well, let’s start with patriotism: The American people carry with them a sense of turmoil in the brash (and often exaggerated) homeland that puts their country’s famous Founding Fathers on an unattainable and almost idyllic level. To this end, Miranda appropriated the biography of Alexander Hamilton, a controversial and complex figure who lost his mother, saw his city destroyed by a hurricane and ultimately decided he had to make history and change. the imperialist status quo as the British monarchy transported its icy lands to the new world. However, here’s the turnaround: The creator, director, lyricist, screenwriter, songwriter, actor and singer decided to put white supremacy aside and brought representativeness like never before to the mainstream scene, engaging Latin, black and white actors. Asian people to tell real events.
Turning the didactic and solidified structure of American government education into a musical would not be an easy task – but Miranda knew how to put it all on track: unlike the orchestral and operatic classicism of so many country musicians, whether in l ‘elegant romantic tale of’ O Fantasma da Opera ‘, be it in the sultry jazz of’ Chicago ‘, the idea was to save the power of the phonographic counterculture and bring it into vogue for an unaccustomed audience. It was against this lush backdrop that the doors opened for R&B, pop and rap, with selective forays into blues and soul, simply culminating in one of the greatest and most important works of this century.
Arriving in Brazil via Disney +, ‘Hamilton’ was one of the most anticipated titles by users – and whoever speaks to you guarantees with undeniable certainty that the long experience is worth it, inviting us on a critical journey. Classic, analytical, emotional and very personal names in world culture including the titular character, George Washington, Thomas Jefferson and many more. More than that, the two and a half hours are carefully focused into a single storyline that is transmuted across different locations and populated by mind-boggling people, whose chemistry transcends fiction and extends its roots to viewers. And while Miranda does a great job as the protagonist, the rest of the cast is impeccable.
It’s clear that the premise starts from a well-known Manichaeanism – and you have to place a “good guy” and a “bad guy”, always looking for the dynamism of the plot that captivates us from the first moment. The film version of the play humanizes the rigidity of these exciting figures and is part of an aesthetic that reminds us of ‘Sweeney Todd,’ presenting a brief history of Alexander and the days leading up to his trip to New York to let his brand – what he achieved, of course. “Like an orphan, bastard, son of a prostitute” is certainly not a warm or honorable verse to open a show, but it is his powerful shock that brings him closer to a current reality, remaining upright until the curtains are closing. With a recessed stage, which opens up the space to a narcotic, strobe light show, the scene comes to life as it morphs into weapon duels, state offices, wedding ceremonies and war camps.
It is impossible to take your eyes off the screen, which is why the long presentation seems to last only a few minutes. And her resistance piece is, in fact, her cast: we have the enigmatic presence of Renée Elise Goldsberry as Angelica Schuyler, the naivety of Phillipa Soo as Eliza, the wife of Alexander who steals the show with cathartic performances to cut the breath, frustration Leslie Odom Jr.’s politics as Aaron Burr, one of the main obstacles faced by the protagonist – and many others. Daveed Diggs, who has appeared in shows like “The Express of Tomorrow” and “Unbreakable Kimmy Schmidt”, plays not one, but two admirable characters, creating very different essences for the Marquis de Lafayette and Thomas Jefferson; Christopher Jackson, with his powerful voice, animates the endorsed figure of George Washington, while Jonathan Groff enters as King George III for a clapping comedic escape.
But you can’t talk about a musical without talking about its soundtrack – one of the most memorable of decades. We have the explosive minimalism of “The Room Where It Happens” (perhaps one of the finest tracks of the 21st century), the synaesthetic ballad “It’s Quiet Uptown”, the perfect R&B pop of “The Schuyler Sisters” and the enthralling rhapsody which ensues with “Non-Stop”. That’s just to name a few of the dozens of songs that are merged into a love letter to the art of performance and the story itself.
“Hamilton,” as the above paragraphs and even the critic’s explicit title emerge, is one of the greatest musicals ever to be created. Its importance and legacy – and its impact in making it theatrical, even – will remain so for years to come and will be revisited with constant and unquenchable passion.
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