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Alex Wood, WhatsOnStage
"This is a special occasion for any musical fan – seeing those who originated each of the principal roles in the show, which follows Alexander Hamilton as he arrives as a penniless immigrant and emerges as one of the most important men in US history, from the comfort of your own home, or streamed on your smartphone."
"Though it's Lin-Manuel Miranda's show, it's Leslie Odom Jr that gives the most nuanced, masterful performance as Hamilton's nemesis Aaron Burr. He imbues the one-time vice president with a high-pitched, almost wailing desperation – voice cracking as he is robbed of his chance to be remembered as a hero.
"He has some stellar support – Anthony Ramos, who took on the role of Usnavi in the film of Miranda's other award-winning musical In the Heights, is a wonder in a part that can often go unacknowledged as Laurens/ Phillip Schuyler – cajoling Burr during "The Story of Tonight" reprise and playing the audience for laughs after his rapping in "Take A Break". Daveed Diggs has a hoot as Jefferson and Lafayette, kicking off the second act with a show-stopping "What Did I Miss?"."
"In her rave review of the West End production, Sarah Crompton said she'd love to 'rewind to the very start and watch it all again'. Well, wish granted."
Charlotte O'Sullivan, Evening Standard
"As viewers, we feel like we're sitting in the best seat in the house: when petulant King George (a fab Jonathan Groff) foams at the mouth, we can see the spittle, but we don't get spat on. Only the luckiest/ most privileged of theatregoers will have had this much access to Odom Jr's face (the strongest link in a flawless chain; every close-up of his clenched mouth makes you shiver)."
"The fate of Hamilton's son Philip (Ramos; excellent) is devastating, but chuckles dominate the proceedings. It's pointed out, repeatedly, that Hamilton (born in the Caribbean) was an immigrant. And the biggest laugh of the night comes when he and the French-born Lafayette concur that 'immigrants get the job done'.
"Miranda – the son of Puerto Rican immigrants – has smuggled radical theatre into our homes. The job's been done, to perfection."
Arifa Akbar, The Guardian
"Even more remarkably, it keeps all the power of a live performance while simultaneously adding a filmic pizzazz including some breathtaking aerial shots. There is extraordinary direction – again under Thomas Kail – so that the cameras capture the mise en scène of theatre without losing any of the closeup intimacy of film.
"Miranda's lead performance brims with understated brilliance. Every actor alongside him performs with just as much conviction though some with more swagger: Phillipa Soo is a demure Eliza Hamilton until she breaks out, gloriously, into beat-boxing; Diggs is a funny, scrappy Thomas Jefferson with his edgy raps and his attitude; Renée Elise Goldsberry is a heartfelt Angelica Schuyler, with a sensational, and soulful, singing voice to boot.
"The film keeps all the energy of the stage, from the large-scale war scenes to the political power battles which are staged as rap battles. But it also takes us into tight shots of Angelica as she sings of her secret love for Hamilton, or of King George (Groff), the camera so close we can see the spittle of his anger over the loss of his American colony."
Chris Harvey, The Telegraph
"If the arrival of Hamilton: the musical to London in December 2017 was prefigured by a tropical cyclone of hype, then its appearance on Disney Plus this week has brought its own mini-typhoon of excitement. Hamilton really is one of those productions that inspires fervour, but can this epic rendering of the politics of Revolutionary America possibly translate to the small screen? The answer is yes. In a duel, it might even win."
"The reaction is still one of astonishment that Miranda has been able to take this complex tale of political idealism, backroom horse-trading and the establishment of a bank (now BNY Mellon, with annual revenues of around $15bn) and somehow make it fun."
"He does it, of course, with an astounding verbal dexterity which is the key to why Hamilton is so admired: 'Two Virginians and an immigrant walk into a room/ Diametric'ly opposed, foes/ They emerge with a compromise, having opened doors that were/ Previously closed/ Bros'."
AO Scott, New York Times
"Hamilton, which premiered at New York's Public Theatre in early 2015 before moving to Broadway and then into every precinct of American popular culture, may be the supreme artistic expression of an Obama-era ideal of progressive, multicultural patriotism.
"Casting black and Latino actors as the founding fathers and their allies – Diggs as Thomas Jefferson and the Marquis de Lafayette, Christopher Jackson as George Washington, and Odom Jr as Hamilton's mortal frenemy Aaron Burr – was much more than a gesture of inclusiveness. The show's argument, woven through songs that brilliantly synthesised hip-hop, show tunes, and every flavour of pop, was that American history is an open book. Any of us should be able to write ourselves."