You don’t often see a critic from the Australian Financial Review at an opening night.
Then again, Hamilton is as much business as it is show.
Michael Bailey (editor of The Rich List) writes: “ … this founding father is a real find … [Lin]-Manuel’s insistence on having this tale of dead white men told by young, racially diverse performers makes it sparkle with streetwise relevance – especially as the average age of the local cast is several years younger than that of the Broadway original.”
Critics are universally praising the Australian production of Hamilton, currently the only one in the world.
Writing for The Guardian Australia, Cassie Tongue describes the show as “a restlessly brilliant contradiction, and the Australian production has the gift of its cast and the benefit of distance. It doesn’t buckle under the weight of its own importance. It shows the best of the Australian theatre industry; it invites critical thinking and reflection; it shines the brightest spotlight anyone could ever imagine on a cast that deserves to be seen and seen again; it offers hope that our return can be stronger than our past ever was.”
John Shand’s review for the Sydney Morning Herald delivered five stars and high praise for its star, Jason Arrow.
“The brilliant Lin-Manuel Miranda not only wrote the words and music, he originated the title role in New York, so each successive Hamilton has the show’s creator looming over him. Jason Arrow shrugs that shadow aside and hits the bullseye. It’s a devilish part, not only because of its immensity (the lion’s share of the show’s 27,000 words), but also because the character is not inherently sympathetic.”
Jo Litson, editor of Limelight, was no less impressed by leading lady Chloé Zuel, who she describes as “radiant as Hamilton’s wife Eliza, one of three Schuyler sisters who are also in tune with the times, quoting the Declaration of Independence. Zuel’s performance grows as the show unfolds and her song Burn in Act 2 when she discovers Hamilton’s infidelity is a moving highlight.”