You will know his name and sing it, loud and proud.

On paper, Hamilton seems like an audacious idea for a musical – not only is it a three hour biographical recount of lesser known American founding father Alexander Hamilton, it also deliberately does race blind casting to have almost all these major Caucasian historical figures to being played by minorities onstage. But ever since it first premiered off-Broadway in 2015, the musical has proven its genius, becoming a smash hit as it won both American and international fans from around the world, with incredibly catchy songs that catapulted creator and composer Lin-Manuel Miranda into superstardom.

Now playing in Singapore for a first time ever, locals will finally get an opportunity to watch this gamechanger of a musical closer to home, with a stellar cast that brings an explosive energy to the Sands Theatre, creating an atmosphere that feels closer to an epic contemporary concert than a period musical based on history. Directed by Thomas Kail, what Miranda has done to this story is take it far and beyond just a retelling of facts, but magnifying the friendships, relationships and struggles of these historical figures to make their stories hit far closer to the ordinary person’s experience, humanising them beyond being a faraway figure studied in dusty tomes.

Most compelling of all is Hamilton’s own underdog origin story, immortalised in the musical’s opening lines: “How does a bastard, orphan, son of a whore And a Scotsman, dropped in the middle of a forgotten spot In the Caribbean by providence impoverished In squalor, grow up to be a hero and a scholar?” There is a clear intent as to why Hamilton does its race blind casting – to present America’s story as one built by immigrants fighting to create a country and home worth living for, and to remember and honour that melting pot of a history, made obvious by these minority bodies onstage. Hamilton himself is played by Jason Arrow, who delivers a suave, charming version of the man, deeply absorbed in his own work yet bringing an aura of fervour and patriotism, respectable in how steadfast he is in his beliefs and values, a fire in him with songs like ‘My Shot’. Arrow is almost always serious in his delivery, ponderous and respectable, a figure you can’t help but feel drawn to as he brings out the full version of the man that makes you understand the power and draw he has over all.

Yet often, it is the characters orbiting Hamilton that offer up more interesting perspectives and narratives from their points of view. Opposite Hamilton, Deaundre’ Woods, as friend-turned-enemy Aaron Burr, does a fine job bringing out the character’s desperation, seen prominently in ‘The Room Where It Happens’ as he begins the run for presidency, and sets up the bitter rivalry that leads to Hamilton’s downfall. David Park makes for a gleefully annoying Thomas Jefferson, somewhat egoistic in the jazzy ‘What’d I Miss?’ and the quickfire cabinet battles that he engages in. Darnell Abraham gives George Washington the vibe of a strong father figure with his powerful voice, and his presence is keenly felt in ‘One Last Time’. Finally, love-to-hate King George is played by Brent Hill, and his iconic ‘You’ll Be Back’, while dressed in heavy crown and ornate coat, makes him seem almost like a sneering comical villain, unwilling to let go of his former colony, and cursing them to burn in their independence.

Politics have almost always been a male-dominated affair, often seeing the men engage in literal wars on the battlefield, wars of words in parliament, or the one on one duels that feature heavily in Hamilton. These are exhilarating moments oozing with testosterone and passion, and part of the reason why the musical has likely gained so many fans, where one can sense the fervour with which these play out, with desperation to make their mark on history and secure victory in every which way. These are elevated further with the use of Andy Blankenbuehler’s choreography, that sees the ensemble performing complicated, high-energy sequences that reflect the fire in all these mens’ hearts.

But beyond these men, it is the women who really give the play its emotional core, with the Schuyler sisters and their performances. Rachelle Ann Go, who reprises the role of Eliza from her time on the West End, remains the standout vocalist among the cast, and gets to let her voice shine in numbers such as ‘Helpless’, while putting her emotions of pain and betrayal loud and true in ‘Burn’ – her version of Eliza is one that evolves from one if innocence to one that matures and becomes strong in the face of immense tragedy and loss. Beside her, Akina Edmonds, as sister Angelica, pulls off the most emotionally complex role in the show, suppressing her own feelings for Hamilton in ‘Satisfied’, always on the brink of showing her love while holding it back to give Eliza happiness instead. All this pain stands in stark contrast to the outstanding, Destiny’s Child-like ‘Schuyler Sisters’ in Act I, where, joined by Elandrah Eramiha as Peggy, there is a real verve and lust for life all three women emanate as they wander the city, eyes open in wonder.

Miranda’s songs aren’t just catchy – they’re also musically complex, with a smorgasbord of genres heard throughout Hamilton, from jazz to R&B, and plenty of rap. What makes them cohesive isn’t just the refrains and motifs that characters adopt throughout from their signature songs, but also the overarching idea that America itself is a melting pot of cultures, drawing from inspiration that ranges from pop to classical. Due to it being completely sung-through, the songs are expertly composed and written in that they both drive the narrative forward while also offering key insight into each character’s inner lives and emotions, and gives them all the opportunity to emote, and essentially makes for a dynamic listening and viewing experience from start to end. Complete with choreography and innovative staging, which shows off use of a revolving stage to play with both ideas of wandering, or even of time being turned back. The set itself, with a stony back wall and wooden stairs and structures, feels like a throwback to precisely the late 1700s where Hamilton is set, and allows the performers to stand out against it in their own ostentatious period costumes.

What Hamilton proves is that what makes a production good isn’t dependent solely on the subject matter, but how one unearths the inherent human drama, and how one tells the story in a compelling way. In its final number, “Who Lives, Who Dies, Who Tells Your Story”, nowhere is this more true, as we are reminded of how legacies are left to the living to defend, and one that Miranda and this tour of Hamilton continue to do justice to. Hamilton is the story of the rise and fall of an ordinary man, the revolutions he partakes in that changed America as we know it, and the lifelong battles, both personal and public, that are waged on a daily basis. What do we leave behind at the end of it all? A name, a memory, and the deeds we have done. Its heavy subject matter may seem daunting for those unfamiliar with it, but if you open your eyes and listen close, then you will be rewarded with an all-time great musical that speaks to all of us in our flawed humanity, our thirst for greatness, and our need to be recognised, wrapped up in a theatrical production that packs a punch.

Photo Credit: Hamilton International Tour

Hamilton plays from 19th April to 9th June 2024 at the Sands Theatre at Marina Bay Sands. Tickets available here.  The best seats are still available on Tuesdays, Wednesdays, and Sunday matinee performances from mid-May to June.

For news and updates, fans can visit hamiltonmusical.com/international-tour, as well as follow their Instagramor Facebook