Hamilton at THEATRE ROYAL PLYMOUTH

Young, Scrappy and Hungry! A Fierce Take on a Modern Classic.

A decade after Hamilton took Broadway by storm, the UK tour has finally arrived at Theatre Royal Plymouth. Given the show’s global acclaim, I expected the usual buzz of anticipation that typically fills the auditorium when a major production debuts in the city. Surprisingly, the atmosphere felt more subdued. It seemed that many in the audience may have been experiencing Hamilton for the first time, there was a notable absence of the superfans who often bring an infectious energy to the room.

As the iconic opening number began, I was immediately struck by how difficult it was to hear and understand the lyrics. Despite knowing the words myself, I found it hard to follow the performance clearly. The volume did begin to pick up as the number progressed, which gave me hope that this was a deliberate build in sound design. Unfortunately, this issue persisted throughout the show. Given the rapid-fire pace and dense lyrical content of Hamilton, particularly its use of rap, clear diction and sound quality are essential, especially for first-time viewers trying to follow the storyline. Regrettably, the audio levels felt consistently too low and clarity was lacking. At the interval, I overheard someone remark that they were only catching every fifth word, which echoed my own experience. I hope the sound issues were simply opening night teething problems and that they’ll be resolved as the run continues. The show is so cleverly and beautifully written by Lin-Manuel Miranda, it deserves to be heard clearly and fully appreciated.

Despite the sound issues, the overall production remains a triumph, with high-quality performances, set design, and lighting all contributing to a visually striking and well-executed show.

Credit - Danny Kaan

 At first glance, the set appears relatively simple, a wooden floor, a bridge structure spanning the sides and back of the stage and a brick wall forming the backdrop. This minimal design is brought vividly to life through the clever use of a double revolving stage, which allows for fluid scene transitions and dynamic, detailed choreography. I was curious whether the UK tour would include the iconic revolving stage from the original production, so I was pleased to see that it had been retained.

The costumes in Hamilton are beautifully crafted and tailored to fit each cast member perfectly. I love how they stay true to the historical period whilst incorporating subtle modern touches like the iconic ripped sleeves. King George’s outfit is especially extravagant and under the stage lights every jewel sparkles brilliantly adding to the theatrical flair of his scenes.

The true star of the show is the lighting itself! I found myself wondering just how many lighting cues this show must contain, it's in near-constant motion, seamlessly synced with both the music and the performers. The lighting design plays a crucial narrative role, using creative shapes and configurations to enhance the storytelling, rectangle lighting suggests alleyways, squares define interior spaces and pinpoint spotlights shine on individual cast members in key moments. It’s one of the most intricately lit musicals I’ve seen in some time and I was thoroughly impressed by its precision and impact.

The production runs like clockwork, every line, movement and gesture from the entire company, from leads to ensemble, is meticulously choreographed and executed with precision. It’s a well-oiled machine. However, this level of exactness made me wonder whether it might be contributing to the diction/sound issues I mentioned earlier. With such tight choreography and little room for variation or spontaneity, it's possible that the performers are so focused on hitting their marks that the delivery of the text has become somewhat mechanical. As a result, some of the clarity and expression in the vocals may have been lost at times.

The diction issues were not consistent throughout the show, they were mostly noticeable, for me, during the faster rapped dialogue. In contrast, the more traditional musical theatre moments and melodic songs were delivered with clarity and impact, often packing a real emotional punch. A standout moment for me was “The Battle of Yorktown.” It’s always been one of my favourite numbers of the show and this production captured its intensity brilliantly. The music builds with thrilling momentum, ending in a powerful explosion of wartime triumph and passion. The ensemble’s booming harmonies in that scene were particularly powerful. One line that never fails to move me is Hamilton’s “gotta start a new nation, gotta meet my son”, it hits with such emotional weight and as always, gave me goosebumps.

Credit - Danny Kaan

With the original Broadway cast so readily accessible through the cast recording and the Disney+ film version, it’s almost inevitable to draw comparisons. However, I was pleased to see this cast bring their own interpretations to the roles. Rather than mimicking past performances, they embraced the characters with originality and confidence.

Marley Fenton leads the production as Alexander Hamilton with a commanding presence and a strong, confident performance. He navigates the shift between Hamilton’s witty charm and his intense political ambition with ease, delivering a well-rounded portrayal. His vocal performance is particularly notable, especially during the duet “Dear Theodosia” with Aaron Burr, a tender, emotional moment in contrast to the show’s usual rapid pace. Fenton’s voice shines here, matched beautifully by his counterpart.

A standout among the cast is Chastity Crisp as Angelica Schuyler. Angelica’s songs are among the show’s most vocally demanding and Crisp handles them with precision and power. Her performance of “Satisfied” was delivered with excellent diction and an impressive vocal belt that cut through the complex rhythms with clarity and strength. The Schuyler sisters as a trio are all superbly portrayed. Casey Al-Shaqsy brings a sweet vulnerability to Eliza, capturing her gentleness and quiet strength. Her rendition of “Burn” in Act 2 was both emotionally powerful and vocally compelling. Naomi Katiyo is delightful as the youngest sister Peggy, delivering a playful and youthful energy. But it’s in Act 2 when she returns as Maria Reynolds that she truly dazzles. As Reynolds, she brings sultry charisma and effortless vocal control, hitting impressive high notes with confidence and ease.

Credit - Danny Kaan

 One of Hamilton’s most beloved characters is King George, portrayed in this production by Louis Maskell. His appearance provides a distinct shift in tone, choreography pauses and the focus turns entirely to a direct, comedic address to the audience. Maskell fully embraces the absurdity and eccentricity of the role, nailing the humour and timing with ease. However, there were a few moments where the higher falsetto notes wavered slightly off pitch. While this may have been an intentional character choice, especially given Maskell’s proven vocal ability, it didn’t quite land for me and at times became a little distracting.

The standout performance of the evening for me was Billy Nevers as Aaron Burr. His voice is silky smooth, with a gentle rasp that adds texture. Nevers skilfully conveys Burr’s conflicted emotions and increasing resentment, particularly in Act 2. “The Room Where It Happens” was a showstopper and by far the highlight of the night, the number earned the loudest and most enthusiastic applause of the evening, and rightfully so.

The entire company is exceptionally strong, there are very few moments in the show where anyone gets a chance to rest. Hamilton’s enduring success is largely due to its razor-sharp choreography and precision. Its machine-like precision is a key reason the show still feels sharp and powerful, ten years on from its explosive debut. While Hamilton may not be among my personal favourite musicals, a sentiment perhaps reflected in some of my critiques, there’s no denying its cultural significance. It remains an iconic piece of theatre and has firmly earned its place as one of the most successful musicals of our time. It’s clear that Hamilton will continue to thrive for years to come. The show is running in Plymouth until 6th September, don’t throw away your shot, book to be in the room where it happens and witness a modern musical phenomenon.

⭐⭐⭐⭐

SEAT REVIEW

Venue: Theatre Royal Plymouth

Seat location: Circle, Row G, Seat 37.

From this row, there is an overhang from the upper circle above but it’s not low enough to obstruct the view of the stage. The entire stage is clearly visible. Additionally, the seat is on the end of the row providing good legroom for added comfort.