Movie Monday: Hamilton on Disney+

Movie Monday: Hamilton on Disney+

 

I’m not a fan of musicals. That’s not to say the entire genre is worthless, I’m just the type of person who enjoys watching a show or a movie that doesn’t overtly utilize its musical aspects for the sake of telling a story. That’s just my personal preference. But, be that as it may, there is always an exception to the rule. Sometimes you go into something believing it will be a decent, music-filled romp through early America, one that can make you appreciate the genre of musical theater in a way you hadn’t before. And, of course, in this instance, I did come out finding that musicals could indeed be just as powerful as any other work of art. But what made this experience of seeing Hamilton on Disney+ this past weekend so unique was that I didn’t just gain a better appreciation for the musical arts. I was blown away by just how breathtaking and spectacular the entire play was.

 

Inspired by Alexander Hamilton, a 2004 biography by Ron Chernow, Hamilton tells the story of Alexander Hamilton, one of America’s founding fathers that had a large part to play in the foundation of the United States Government, in particular its financial system. What makes Hamilton so unique, however, is that his life of struggle was often accompanied by his need to find satisfaction in life by always climbing higher atop the social and political ladder. Hamilton as a figure is the embodiment of the American Dream, something this play manages to capture with its fantastic songs, amazing choreography, and a stellar performance by lead writer and composer Lin-Manuel Miranda. Each song weaves its way into one another, telling a cohesive narrative with very little dialogue outside of the lyrical content. Very few words are spoken throughout the play, with much of the story being told via the musical numbers. And—because of the heavy lyrical content given many of the fast-paced hip-hop songs that make up the play—the audience is both engaged and informed as to what is transpiring throughout.

 

While I could go on about how every performance in the play was fantastic and impressive, the musical numbers are obviously where the play shines. While I had been expecting an upbeat, pop-like hip-hop-style for the soundtrack throughout, instead songs of that caliber are intermixed with other genres. There are slow solo ballads assisting to develop single characters, notably King Geroge’s “You’ll Be Back” and Eliza Schuyler’s “Burn” (sung by the talented Jonathan Groff and Phillipa Soo respectively). There are traditional-style show tunes interlaced with pop and soul elements, especially numbers featuring Christopher Jackson’s George Washington such as “Right Hand Man” and “One Last Time.” Even a few experimental pieces can be heard throughout, such as a “rewind” segment in the song “Satisfied” (performed by Renée Elizabeth Goldsberry’s character Angelica Schuyler). The show does an excellent job at keeping audience attention via its ever-shifting musical score, which also manages to emphasize the story itself.

 

One of the most astounding parts of Hamilton that made it so visually appealing, however, was the complex choreography. Throughout the play, many of the musical numbers were accompanied by large, flowing crowds of dancers that were able to bring life to the songs outside of the main cast. Once again, “Satisfied” stands out for the way it was presented, starting out at a new point in the story before rewinding to the events of the previous song from Angelica’s perspective. The choreography and placement of the actors onstage—similar to their placement in the previous song—flows well, with time’s progression showcased via the dancers who also move around the set in order to get back to the present at the end of the song. Impressive work like that can be seen throughout the play, emphasizing the power of the songs, the performances, and the overall story at hand.

 

While I could go into more detail with how impressive I felt Hamilton was in every capacity—including other characters and even the cinematography for this filmic version of the play—I think it’s better that you see it for yourself. The film is on Disney+ right now, and it does not disappoint. It is rather long—the runtime clocks in at around two hours and forty minutes—but it holds your attention throughout so well that it does not feel nearly as long. I for one will be watching it again and may even write another blog post on it depending on how I felt the second time around. But, as far as first impressions go, this was a fantastic performance that gave me a new appreciation for musical theater and for the musical genre. Hamilton is an impressive feat, and I would recommend it to everyone. Trust me, you’ll be satisfied.