The Cast Photo by Joan Marcus

The 2015 Tony Awards were dominated by Hamilton. Creator Lin-Manual Miranda chronicles America's birth through the eyes of immigrant Alexander Hamilton and his impactful life. George Washington and Thomas Jefferson are among the other historical characters central to the musical, which was inspired by the 2004 biography "Alexander Hamilton" by Ron Chernow.

Lin-Manual Miranda's sweeping and bold storytelling features very personal moments, many of which mirror the corresponding historical events of the founding of the country. This centuries-old tale is told through the lens of today's musical styles and language (both dialogue and lyrics).

Sweet R&B numbers, pop love ballads, rap battles, drinking songs, hip-hop, and traditional musical theatre songs make up the score. The quality of the score is excellent, providing emotional gravitas to the action and variation in how the plot is conveyed. Alex Lacamoire's contributions as orchestrator and co-vocal arranger (with Miranda) are significant, as they are part of what makes the score so exhilarating.

The dense and expressive lyrics in songs such as the opening "Alexander Hamilton," "My Shot," "What'd I Miss," and "The Room Where It Happens" communicate a centuries-old story, but with modern vernacular. The back-to-back songs "Helpless" and "Satisfied" show the same scene from two different perspectives and in two different musical styles, and both are enormously impactful and skillfully constructed. "Yorktown" contains a history lesson packed inside its lyrics, along with numerous musical motifs coming together to a crescendo, both musically and in the storytelling. "Take a Break" pushes the story forward while delivering beautiful counterpoint melodies and harmonies, and "Say No to This" actually sounds like the sexual infidelity it references through the music, even without the witty lyrics that punctuate the point. There aren't many better examples anywhere of an R&B song than "The Schuyler Sisters," nor of a gospel anthem than George Washington's "One Last Time." King George's "You'll Be Back" sounds just like a 1960s British invasion band chart topper. For the true theatre nerds out there, listen for references to other musicals such as The Last Five Years, South Pacific, Mamma Mia!, The Pirates of Penzance, and 1776.

Hamilton isn't a perfect show. It drags a bit and there are too many false rhymes in the lyrics. But it has so many "wow moments"–those times in a show when the thrill of a musical melody, the emotional impact of dramatic interchange between characters, or the genius in the staging of a scene creates a cathartic experience for the audience. Hamilton has dozens of these, and this is what makes the show so very special.

Director Thomas Kail provides fluid staging and a cohesiveness to the material which feels natural. Cincinnati native Andy Blankenbuehler supplies vibrant and dynamic choreography, with the dances at times emphasizing the lyrics, dialogue, or emotional responses being presented. Emmanuel Schvartzman leads an excellent 11-piece orchestra.

The multiracial cast of this tour reflects the diverse make-up of America today, and the performers are uniformly top-notch singers and actors. Tyler Fauntleroy comfortably captures the many levels of the protagonist, sings wonderfully, and provides a firm foundation for the cast. Understudy Chibueze Ihuoma felt a bit unsteady at first as Aaron Burr, but settled in quickly. He brings energy, a full-fledged embodiment of the character's "play-it-safe" mantra, and really excels in Act 2 with "The Room Where It Happens." Marja Harmon supplies a more delicate voice for Angelica Schuyler than is typically seen in the role, and nails the acting of this multifaceted character. Lauren Mariasoosay provides captivating vocals and embodies the kind-hearted nature and emotional center of the show as Eliza Hamilton, delivering the best performance among many strong ones in this cast.

As George Washington, A.D. Weaver shows off a sweet, impressive gospel-tinged voice and commanding stage presence. Lily Soto showcases a smile-inducing droll take on Peggy Schuyler and then a powerhouse performance as temptress Maria Reynolds. Matt Bittner is aptly pompous and silly, but also with simmering anger underneath as King George.

In addition to an understudy for Burr, the performance reviewed also had replacements for Lafayette/Thomas Jefferson and John Laurens/Philip Hamilton. Auston Henderson is playful as both Marquis de Lafayette in Act 1 and Thomas Jefferson in Act 2, and really amps up the fun as Jefferson. Michael Natt brings an earnestness to both Laurens and Phillip Hamilton in a role for which he seems a perfect fit.

David Korins supplies a multi-level wooden scaffold in front of exposed brick as the primary scenic design. It's a functional and period-looking foundation which opens up the performance space for smaller set pieces to further define the setting. Howell Binkley's lighting is varied, providing showbiz pizazz at times and delicate atmospheric intimacy during other scenes. Paul Tazewell's costumes are handsome and generally period appropriate, but with just enough variation to be hip.

Approaching ten years since it dominated the Tony Awards, Hamilton is still a thrilling piece of theatre, art, history, and social commentary. The current touring cast is a talented one, and the show continues to captivate audiences.

Hamilton runs through January 4, 2026, at the Aronoff Center, 650 Walnut St., Cincinnati OH. For tickets and information, please call 513-621-2787 or visit cincinnati.broadway.com. For information on the tour, visit hamiltonmusical.com/us-tour/.