Displaying items by tag: Thomas Jefferson

Nearly a decade after it first upended the American musical, Hamilton returns to Chicago’s CIBC Theatre as part of Broadway In Chicago’s 2026 season, and its cultural voltage hasn’t dimmed one bit. Inspired by Ron Chernow’s book, Alexander Hamilton, Lin‑Manuel Miranda’s genre‑shifting epic — part biography, part political thriller, part hip‑hop opera — still hits with the force of a story determined to be heard. Having seen it in its inaugural year, I can say this revival lands even sharper, richer, and more assured than ever.

Alexander Hamilton didn’t just witness the birth of the United States — he helped engineer its architecture. As a delegate at the Constitutional Convention, he argued fiercely for a unified national government, and though not the primary drafter, he became one of its most influential defenders, authoring the majority of The Federalist Papers to secure the Constitution’s ratification. His imprint only deepened from there: he built the nation’s financial system from the ground up, established the U.S. Treasury, championed a national bank, and laid the groundwork for the country’s credit, industry, and economic identity. In Hamilton, these achievements aren’t treated as dry civics lessons but as the combustible fuel of a man determined to transform a fragile collection of states into a functioning nation — a legacy as complicated as it is foundational. The musical captures not just his ascent, but the way his ideas became the scaffolding of a country still deciding what it wanted to be.

Through songs like “My Shot,” “The Room Where It Happens,” and “Hurricane,” Miranda reframes the Founding Fathers not as marble statues but as flawed, hungry, deeply human figures fighting to define a nation and themselves. What Miranda is ultimately trying to convey — and what this production underscores beautifully — is that America’s story has always been messy, contested, and built by people who rarely saw themselves as the heroes of their own narrative.

Director Thomas Kail’s staging remains a masterclass in kinetic storytelling. The turntable choreography, the razor‑sharp transitions, and the way bodies carve through space all contribute to a sense of history constantly in motion. Under his direction, the show feels both epic and immediate — a revolution unfolding in real time.

l-r-Tyler Fauntleroy as Alexander Hamilton and A.D. Weaver as George Washington in Hamilton at CIBC Theatre. Photo by Joan Marcus.

What continues to astonish about Hamilton is how much storytelling power resides in its deceptively simple visual world. David Korins’ now‑iconic set — all timber, ropes, brickwork, and scaffolding — frames the action like an unfinished nation still under construction. The exposed architecture becomes a living metaphor for the country Hamilton is trying to build, while the revolving stage keeps history literally turning beneath the actors’ feet. Paul Tazewell’s costumes layer silhouettes with subtle modern inflections, allowing the cast to move with the velocity the score demands while still grounding the story in its 18th‑century roots. The palette shifts almost imperceptibly as alliances form and fracture, and the contrast between the Schuyler sisters’ elegance, the soldiers’ grit, and King George’s absurd opulence adds texture to every scene. Together, the set and costumes create a world that feels both historical and urgently contemporary — a perfect visual match for Miranda’s reimagined revolution.

This Chicago cast brings its own intensity. The Chicago engagement of Hamilton boasts a powerhouse company led by Tyler Fauntleroy, who delivers a relentless, razor‑sharp Alexander Hamilton—equal parts tactician, poet, and live wire. His performance feels carved from pure momentum, capturing both Hamilton’s brilliance and his self‑destructive drive. Opposite him, Jimmie “J.J.” Jeter turns in a magnetic, exquisitely controlled Aaron Burr, layering charm, calculation, and simmering envy into a portrayal that peaks beautifully in a soul‑baring “Wait For It” and a show‑stopping “The Room Where It Happens.” Lauren Mariasoosay brings warmth, emotional clarity, and a quiet steel to Eliza Hamilton (through April 12th), while Amanda Simone Lee commands the stage with fierce intelligence and vocal fire as Angelica Schuyler. Lily Soto shifts effortlessly between the wide‑eyed innocence of Peggy Schuyler and the seductive, wounded edge of Maria Reynolds through April 12th, with Nadina Hassan stepping into the roles beginning April 14th. A true force, A.D. Weaver anchors the production with statesmanlike gravitas as George Washington, and Christian Magby all but steals the show with his dual swagger as Lafayette and Jefferson—two performances so distinct they feel like separate universes. Nathan Haydel brings youthful fire and heartbreaking vulnerability to both John Laurens and Philip Hamilton, while Eddie Ortega grounds the ensemble with muscular presence as Hercules Mulligan and James Madison. And rounding it out, Matt Bittner delivers a perfectly petty, wickedly funny King George III, milking every entrance for maximum delight, stealing the moment with a perfectly calibrated blend of comedy and menace in “You’ll Be Back.”.

Musically, the production remains a marvel. The blend of hip‑hop, R&B, traditional musical theatre, and lyrical density still feels revolutionary, and the orchestra at the CIBC gives the score a muscular, propulsive energy. Even familiar numbers feel newly alive in this space. The production is expansive and brimming with moments that land with exhilarating force.

The run at the CIBC Theatre continues through April 26th, giving audiences a generous window to revisit — or finally experience — the show that redefined what Broadway could be.

In a city that knows its way around bold storytelling, Hamilton still stands out. It’s a reminder that history is not a fixed monument but a living argument — and that the voices shaping it are far more diverse, complicated, and compelling than the textbooks ever let on. Whether you’re seeing it for the first time or the fifth, this production makes the revolution feel brand new.

Highly recommended.

For tickets and/or more show information, click here.

This review is proudly shared with our friends at www.TheatreInChicago.com. 

It’s hard to imagine a musical about the inception of the Declaration of Independence being interesting. It’s even harder to imagine that it can still be interesting in the shadow of arguably the most beloved American history musical, ‘Hamilton’, but the new production of ‘1776’ is more than just interesting, it’s a whole lot of fun. ‘1776’ begins its North American tour in Chicago at the CIBC Theatre.

Coming to Chicago hot off its Broadway run, this version of ‘1776’ doesn’t quite look or sound like the popular 1960s production or its subsequent film adaptation. It would be crazy to say that this production wasn’t in some way influenced by Lin Manuel Miranda’s conceptual masterpiece ‘Hamilton’. However, that may be, Roundabout Theatre in collaboration with The American Repertory Theatre have created a ‘1776’ for a 2023 audience and the result is exactly what this show needed to stay relevant.

Instead of a white male ensemble playing our forefathers, directors Jeffrey L. Page and Diane Paulus have cast all the roles with actors who identify as female, transgender and non-binary. This casting is exciting and gives this music a new aesthetic that’s more pleasing to the ears. Each character’s costumes are tastefully styled in a way that leaves little ambiguity about who they are. Benjamin Franklin or simply, Pennsylvania, played by Liz Mikel is immediately recognizable in a green duster, small glasses and long braids.

 “The Egg” - (From L) Gisela Adisa as ‘John Adams,’ Nancy Anderson as ‘Thomas Jefferson’and Liz Mikel as ‘Benjamin Franklin’ in the National Tour of '1776'.

The tour has brought most of the original Broadway cast along, and because of that there’s a real sense of originality to the performances. While not part of the original cast, Joanna Glushak brings a Mary Martin energy to her role as British loyalist John Dickinson. Between her and Nancy Anderson in the role of Thomas Jefferson, there’s a lot to enjoy. The show is centered around John Adams who was a staunch advocate of American independence. Gisela Adisa as John Adams makes not only a compelling case for democracy, but also brings the roof down with her powerful vocals.

This production feels fresher than most Broadway tours. There’s some grit left on this show that doesn’t make you feel like you’re at a downtown Chicago playhouse, but rather one of our intimate storefront style theaters. There’s a refreshing lack of Broadway polish and almost none of the cloying tweeness that has become standard practice in big budget musicals. This production has a sense of urgency to it and a bespoke aesthetic. It’s exciting to see an old standard reimagined in a way that’s easier to connect to.

If you’ve never seen this show, forget what you think you know about it. The two acts breeze by and the book by Peter Stone is surprisingly informative without getting into the weeds of the colonial legislative process. Page and Paulus’ version is fresh and unique and never overdoes it the way some reinterpretations have a habit of doing. It’s just what it needs to be and it’s a lovely surprise for those who love the classics.

Through March 12 at Broadway in Chicago at the CIBC Theater. 18 W Monroe. www.broadwayinchicago.com