The celebrated hip-hop historical musical that took the world by storm, Hamilton, by Lin-Manuel Miranda, is back in Chicago after a two-year absence, and it does not disappoint. The intelligent and creative script and score are brought to life by this powerhouse creative team—director Thomas Kail, choreographer Andy Blankenbuehler, and music supervisor/orchestrator Alex Lacamoire—along with a new cast filled with absolute rockstars.
The show’s return also comes at a fascinating moment culturally and politically. Producer Jeffrey Seller recently noted that in today’s political climate, Hamilton feels “more essential than ever,” describing the show as a reminder of the best impulses of American democracy; people who may disagree passionately but ultimately work toward building something together. Watching the show today, that sentiment rings true. Even a decade after its debut, the story still feels strikingly relevant.
Tyler Fauntleroy, who plays Hamilton, powerfully carries the show from start to finish, dominating the stage with his voice, confidence, and charisma. His performance is grounded, breathtaking, and captivating. Fauntleroy balances Hamilton’s hopeful vision for a better future with the character’s selfish ambition in a fascinating way. It makes you think about the pros and cons of extreme hunger, drive, and desire: it can be wildly inspiring while also deeply isolating. You can’t help but hang on his every word.
Nathan Haydel is a force to be reckoned with. Whether he’s playing John Laurens in Act I or Philip Hamilton in Act II, he’s an absolute riot on stage. He brings dynamite energy and clearly makes smart, bold choices as an actor. He’s wildly entertaining, and you can’t help but feel pulled toward him.
The Schuyler Sisters will blow you away immediately! Three wildly talented actors and singers: Marja Harmon plays Angelica, Lily Soto plays Peggy, and Amanda Simone Lee stepped in as Eliza for opening night. Lee’s performance is beautiful, heart-wrenching, and inspiring. She captivates the room with her voice, and she and Fauntleroy share wonderful chemistry. From the moment she steps onstage until her final breath before curtain, she carries the quiet strength that Eliza demands.
Aaron Burr, played by Jimmie “JJ” Jeter, brings numerous layers to what could easily be a one-note character. He perfectly captures Burr’s hesitation and inability to fully take a stance while still showing the ambition simmering underneath. During “Wait For It,” he allows the audience an intimate look into Burr’s inner monologue. Jeter brings a sensitive, touching side to a character who is often simply labeled as Hamilton’s foil.
I would be remiss if I didn’t mention Matt Bittner’s King George III. He is a brilliant performer and a master of comedic timing. Bittner could simply stand in one place and still command the entire theater with nothing but his facial expressions and pointed opinions. He perfectly balances a petty adult with the temperament of a child. The performance is hysterical and extremely memorable.
The music was incredible, performed by an orchestra comprising members of the Chicago Federation of Musicians. The blend of modern backing tracks with live instrumentation works seamlessly to create the unique sound of this hip-hop musical. The score is used very intelligently as a storytelling device, integrating cannon and gunshot sounds directly into the music so the audience feels every moment right alongside the characters.
Overall, the production is electric, powerful, and just as impactful as ever. Even two centuries later, the story—and the questions it raises about ambition, legacy, and who gets to shape a nation—still hits incredibly close to home.
Interestingly, this Chicago run came together somewhat unexpectedly. According to Seller, the production canceled a planned engagement at the John F. Kennedy Center for the Performing Arts, and Chicago stepped in to host the show instead, something Seller simply put as “Chicago saved us.” It’s a reminder of how important cities like Chicago remain in the national theater ecosystem.
The show runs just short of three hours, including a 15-minute intermission. Don’t miss your opportunity to see Hamilton before it leaves Chicago. The production runs through April 26 at the CIBC Theatre, 18 W Monroe St. The show is suitable for ages 10 and up, and tickets are available through Broadway In Chicago.
For more information on this and other productions, see theatreinchicago.com.
Support arts and culture journalism today. This work doesn't happen without your support. Contribute today and ensure we can continue to share the latest reviews, essays, and previews of the most anticipated arts and culture events across the city.
