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Catch Hamilton at the Ohio Theatre through July 20!
Ten years ago, Hamilton took the stage for the first time, changing modern theater forever. Watching hundreds flock to the Ohio Theatre on a Wednesday night, it is clear the story that shook theatregoers 10 years ago still maintains its power, perhaps now more than ever.
When creator Lin-Manuel Miranda proposed a hip-hop musical chronicling the rise and fall of Founding Father Alexander Hamilton, he was met with skepticism. The gripping opener quickly wins over anyone who still questions the power of Hamilton’s story, “Alexander Hamilton,” a ballad that instantly captivates audiences with its seamless blend of history and rhythm.
While minimal props and effects keep focus on the story, seeing it live reveals a physical energy and movement that the filmed version can’t fully capture. The set is simple yet dynamic, with wooden scaffolding, staircases and exposed brick that evoke both colonial and urban grit. The stage turntable adds cinematic flow, especially in duels and flashbacks.
Joan Marcus
King George III
The opening numbers pack a punch, plunging the audience straight into the intensity of the impending American Revolution, with immigrant Alexander Hamilton at the center. When Tyler Fauntleroy (Alexander Hamilton) first stepped on stage, the anticipation was palpable as the audience wondered what kind of Hamilton he would embody.
Fauntleroy began with a measured, almost timid delivery, but quickly seized control with a commanding performance of “My Shot.” From that moment on, he captured the charismatic yet conflicted nature of Hamilton that audiences have come to both admire and question.
Classic crowd-favorites such as King George III’s “You’ll Be Back” did not disappoint, with actor Paul Louis Lessard muttering out delightfully condescending lines and shoulder shimmies as the king of England watches his colony slip from his grasp. Jimmie “JJ” Jetter stepped into the shoes of the scorned antagonist, Aaron Burr, displaying incredible range in “The World Was Wide Enough” and “Dear Theodosia.”
But perhaps the most standout performances came from A.D. Weaver (George Washington) and Lauren Mariasoosay (Eliza Hamilton). Weaver’s booming voice immediately commanded the stage as he recruited Hamilton to “write not fight.” As he delivered a full-bodied rendition of “One Last Time,” his powerful voice seemed to suspend the entire theater in stillness, captivating the room with the emotional weight of each note.
Joan Marcus
Hamilton and Washington
Weaver added a layer of emotional depth to Washington with his rendition, framing him to be a more nurturing, father-like figure to Hamilton. In past productions, Washington has been presented as a stoic, steadfast leader. Weaver, in contrast, revealed a more gentle side to the figure, showing how he guided Hamilton with an almost paternal wisdom.
Mariasoosay nailed Hamilton’s wife Eliza’s emotional range throughout the story, drawing audiences in as she shifted from love-sick to heartbroken. Mariasoosay haunted audiences as she belted out her feelings of betrayal in “Burn.” As she takes the stage for the final time in "Who Lives, Who Dies, Who Tells Your Story", her quiet yet powerful voice garnered tears from more than a few audience members.
While each cast member provided outstanding standalone performances, their chemistry was palpable when they came together. The playful quips and jabs of Fauntleroy, Jared Howelton (Marquis de Lafayette) and Kai Thomani Tshikosi (Hercules Mulligan) as they came together amidst the revolution felt like watching old friends, and the undeniable chemistry between Fauntleroy and Mariasoosay added a layer of vulnerability in the characters that has been lost in previous productions.
Joan Marcus
Hamilton and crew
The Hamilton soundtrack is bold and dynamic, but during the first act, it seemed a bit too bold. The track occasionally overpowered the performers at times, causing vocal delivery to be lost beneath the backing track. Fortunately, the sound mix noticeably improved after intermission, allowing the cast’s voices and the show’s lyrics to come through with clarity and impact in act two.
As the closing production of Broadway Columbus’ 2024-2025 season and a cultural phenomenon that has gone beyond the boundaries of traditional theater, Hamilton carried immense expectations — and it surpassed them with ease. This production reminds audiences that the show’s revolutionary energy and emotional resonance remain as powerful as ever.
Megan Brokamp is an editor for CityScene Media Group. Feedback welcome at mbrokamp@cityscenemediagroup.com.
