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NYFF Review: ‘Hamiltonโ€™s America’

by Hilary Weissman October 3, 2016
by Hilary Weissman October 3, 2016 0 comments
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On Saturday, Oct. 1, 2016, The Knockturnal took its shot at seeing the premiere of โ€œHamiltonโ€™s America,โ€ directed by Alex Horwitz, at the The New York Film Festival in the Alice Tully Hall at Lincoln Center.

For everyone whoโ€™s lost the $10 lottery every day (sometimes twice a day) to see the Broadway hip hop juggernaut Hamilton, for everyone whoโ€™s fallen down the rabbit hole of each new performance, #HAM4HAM appearance, and highlight real on YouTube, you wonโ€™t want to throw away your (free!) shot at taking a closer look at how this masterpiece came to be. And if you didnโ€™t know this was something you should be paying attention to already, now you know.

Hamiltonโ€™s America expertly weaves together the electric live performances, passionate (yet often exhausted) cast interviews during the musicalโ€™s creation, and illustrated recaps of the historical events propelled by our first treasury secretary Alexander Hamilton, that, when framed artistically the way multi-Tony-award and Grammy award winning Lin-Manuel Miranda has done, leap off the page and are brought to life. Or as director Tommy Kail put it, they are โ€œbrought out of sepia toneโ€ to become more โ€œvital and vibrant.โ€

Itโ€™s driven home even further just how much Miranda identifies with Hamilton, who he claims reached out of Ron Chernowโ€™s biography and โ€œchose him.โ€ He immediately drew the parallels between Hamiltonโ€™s struggle to build a life in America from leaving behind St. Croix with nothing, and his own fatherโ€™s story as an immigrant from Puerto Rico, who got involved in local politics under Mayor Ed Koch after first driving a taxi cab. โ€œIโ€™m just playing my dad,โ€ he mused, โ€œdown to the hair.โ€

You can feel the stunning weight of mixed anticipation and relief as Miranda sits down in mutual admiration with all of his creative inspirations, from Stephen Sondheim and John Wiedman (Assassins) to Nas and The Roots. He got virtual seals of approval from both the Broadway vets, who have made careers out of โ€œdrowning in researchโ€ to give new life to a long-dead story, and even from the latter hip hop greats, where โ€œreal recognize realโ€ in hip hop and by discussing how important it is to be able to represent where they came from through their writing.

Youโ€™ll marvel at how the lines from the song, โ€œYorktown (The World Turned Upside Down),โ€ mirror where Miranda was in his own life while writing and finishing the musical. While his โ€œentire life was under constructionโ€ setting up a new apartment with his first son on the way, he was pressured to push through and deliver his six-year old project on deadline.

โ€œGotta go, gotta get the job done, gotta start a new nation, gotta meet my son.โ€

In fact, Miranda has started a new nation. A nation of people interested in Broadway musicals, and in the minute details of our history. A nation where politicians on either side of the aisle like President Barack Obama and former President George W. Bush, and Speaker of the House of Representatives Paul Ryan and U.S. Senator Elizabeth Warren, can agree on the magnitude this artistic endeavorโ€™s impact, and be willing to participate in the same project to discuss it, which in turn left an audience finally able appreciate the leaders who have come and goneโ€”President Bush got a huge laugh after his revelation on how it can take a while to get the credit deserved throughout the retelling of history.

Never-before-seen performances on stage (if youโ€™ve already consumed all that the Internet has to offer, but I wonโ€™t spoil which) and at the White House will certainly titillate your senses and whet your appetite to see more. Watching Christopher Jackson sing โ€œOne Last Timeโ€ emulating our first President George Washington in concert, with our latest President Obama looking on and nodding in appreciation. not long before heโ€™ll take his own leave, will make you feel all the feels.

These nuggets will also generously help you visualize more of the staging and facial expressions you miss as you listen and cry to the soundtrack on your commute through โ€œthe greatest city in the world,โ€ eventually missing your stop or the entrance to your building (Iโ€™ve only done that once or twice).

Itโ€™s true, some viewers will never be satisfied that certain fan favorite numbers donโ€™t make it onto the screen yet, which is understandably done to fan the mystique and surprise of the physical performances and stage design. It also keeps the film focused on continuing to weave Hamiltonโ€™s legacy into the current zeitgeist, rather than untangling all the other spools of thread that make up in his lengthy tapestry.

How director Alex Horwitz managed to choose just 82 minutes of footage out of 100 hours of filming to help continue the story of Alexander Hamiltonโ€™s life and legacy, which now bleeds into todayโ€™s society is unfathomable. He could have made two more films, which this captivated audience would have eaten up.

Be sure to catch this installment of PBSโ€™ โ€œGreat Performancesโ€ series on Oct. 21, 2016 at 9 p.m.

Image courtesy of RADICALMEDIA.

broadwayHamiltonLin-Manuel MirandaThe New York Film Festival
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Hilary Weissman

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