Sydney Reviews

It’s only been 18 months since the curtain last closed on a Hamilton season in Australia but last night’s buzzing opening at Sydney’s Lyric Theatre was an indication of the appetite Australians have for this much-feted production. 

On paper, it’s not a compelling premise for a musical. A lesser-known American founding father. An unloved orphan who wrote his way into the history books but died in a pointless duel. How does the bastard, orphan, son of a whore go on and on, grow into more of a phenomenon? By the pen of Lin-Manuel Miranda of course. 

Miranda chanced upon Ron Chernow’s acclaimed Hamilton biography and was inspired to write the musical, which has since bagged a swag of awards since its Broadway debut in 2015, including a record number of Tonys, Grammys and a Pulitzer prize for Drama. Its genius lies in storytelling; stuffy history is revitalised using a blend of rap, hip-hop, jazz and traditional show tunes.

The Australian production, like the international one, has employed a ‘colour-blind’ diverse casting, which works well for Hamilton, and helps to bring the American revolution and its newfound independence to life.

Each character’s first appearance on stage elicited thunderous applause, no doubt keeping musical director Michael Azzopardi on his toes as he often had to pause before continuing with the show. WAAPA graduate Jason Arrow reprised the role of Alexander Hamilton and blew us all away with his strong vocals and youthful energy. His rising star is one to watch. 

Callan Purcell’s slighter frame and less aggressive approach than others who have previously played Aaron Burr made for a nuanced portrayal that inspired greater sympathy for this character. Purcell and Arrow’s moving duet in ‘Dear Theodosia’ was done particularly well. Googoorewon Knox was a standout as George Washington and had perhaps the strongest vocals of the cast, along with the required gravitas for the role. 

It was hard to fault any cast member, with each one playing their parts so well. The Schuyler sisters harmonised beautifully and although Vidya Makan’s vocals were not the strongest of the trio, her acting was convincing across the range of helpless lover, grieving mother and forgiving wife. Akina Edmonds’ feisty Angelica shone each time she came on stage and Elandrah Eramiha had an unforgettable performance as the alluring Maria Reynolds. 

You could feel the enjoyment Tainga Savage (John Laurens/Philip Hamilton), Gerard-Luke Malga (Marquis de Lafayette/Thomas Jefferson) and Etuate Lutui (Hercules Mulligan/James Madison) had working together. Another WAAPA graduate, Savage’s strong voice and confidence made him a pleasure to watch. It’s a difficult ask for a grown man to play a nine year old son, and there were a few smiles for that scene, but he made his roles look easy. Lutui had the bass and the swagger for Mulligan and Madison and Gerard-Luke Malgas played Lafayette and Jefferson with aplomb, getting the most laughs after King George – you would never have guessed it was his professional theatre debut.

Brent Hill was a cracking King George, and his three appearances were met with delighted applause and laughter. It was obvious he relished reprising the role; his facial expressions and perfectly timed gestures added his own embellishments to the part; he even improvised by scolding the audience for being too noisy. 

The energy and brilliance of the cast made the show outstanding, and that included the hugely talented ensemble, who were dancing and moving and singing constantly throughout the show.

It was a given that the audience were singing along silently to every song. We laughed at the King, we were moved by Washington’s farewell address, we cried with Eliza and Hamilton. 

Miranda has successfully written Alexander Hamilton into the memories of his audiences, who will always view Burr as the pitiable villain and Hamilton as the flawed hero and intellectual giant. It’s hard not to see the parallels between Hamilton and its creator. Like Hamilton, Miranda writes like he’s running out of time. Maaaaaan, the man is non-stop. Over 27,000 words are crammed into a two hour and forty-five-minute show, at an average of 144 words per minute. 

Miranda just needs to teach us how to say goodbye. This magnificent performance elicited a roaring standing ovation from the audience, who were all left wishing for one last time.