“Who lives, who dies, who tells your story?” — George Washington in Hamilton
If you haven’t watched Hamilton, you’re not in.”
Thus observed Philippine STAR Lifestyle columnist Christine Dayrit as she saw me taking in the huge crowd that flocked to the Solaire Theater last Wednesday for Hamilton, which debuted in Asia last September and will be onstage till early November. Even if the multi-awarded musical — with a score that blends hip-hop, jazz, R&B and Broadway — has been playing for over a month now, almost every seat was taken. It was mostly a young crowd of millennials and Gen Zs. I saw Baby Boomers as well, and a few elementary school children.
Hamilton, with music and lyrics by Lin-Manuel Miranda and based on Ron Chernow’s acclaimed biography, has won 11 Tony Awards, Grammy, Olivier Awards, the Pulitzer Prize for Drama, and an unprecedented special citation from the Kennedy Center Honors. Top billed in Manila by Jason Arrow as Hamilton, it also proudly stars our very own Rachelle Ann Go as his wife Eliza.
Hamilton resonates with the youth, the so-called EDSA babies, and those born after World War II — so that means practically everyone who has politics on their breakfast table and love in their dreams at night.
Hamilton is the story of Alexander Hamilton, a bright orphan who rose from poverty to become an American Founding Father and its first Treasury Secretary. The milestones in between his proudest moments and his weakest, told in engaging rap then softening to Broadway, with superb timing between dialogue and effects on a set that never changes, is like fruit-studded pound cake baked in three hours (with intermission, of course).
This musical is a must watch for politicians who are, as they should be, acutely aware that they should leave a legacy and that the narrative should be right. Those who hope that they be remembered beyond the epitaphs on their tombstones, should take heed of the message of Hamilton.
Before the musical made Hamilton synonymous with Alexander and not George, did audiences worldwide know about the man as much as they know of him now? Did they know of Aaron Burr? I think not.
As a journalist, I believe Hamilton resonated because I realized just how mighty the pen (or the keyboard) is, whether your media is print or digital, in telling a story. Not just your story, but the story of others you deem worthy of your space: those who sacrificed their lives so that you may be free from whatever form of slavery, have Internet on your screens or the right to have as many stamps on your passport as you can afford.
Jose Rizal is fortunate because someone told his story, and told it in a way that honors him. Martyred on Bagumbayan field, the National Hero of the Philippines is credited for inspiring the revolution against Spain for the freedom of the Philippines. He is the first hero Filipinos read about in their Social Studies books.
The story of Andres Bonifacio, who some believe should be the National Hero, was secondary to Rizal’s. Perhaps, his story was deliberately, as some claim, sidelined by pacifists. This is open to continuing debate — and I, for one, would like a Bonifacio musical or movie that resonates, just like the Antonio Luna movie on the revolutionary general reverberated with critics and the box office.
The sands of time and politics shift ever so often so I wonder whose story will endure?
How will Ninoy Aquino, accompanied to his grave by millions in 1983 but not immediately familiar with the youth 40 years later, be remembered? How will Ferdinand Marcos Sr., who died in exile after a popular revolution ended his 20-year hold on power, be regarded by history?
Who will tell their story?
Lessons from a good rap
Told mostly in rap at the start of the musical, here are some of the best lines from Hamilton:
From George Washington to Hamilton: “Don’t throw away your shot.” “It’s much harder when it is your call. You’re on your own.” “Dying is easy, young man. Living is harder.” “Who lives, who dies, who tells your story?”
Hamilton: “I am not throwing away my shot.” “If you stand for nothing, what will you fall for?” “This is not a moment. It’s the movement.”
Aaron Burr: “Talk less. Smile more.”
Eliza Hamilton on having a happy home with her husband: “That would be enough.”
Washington, Hamilton and company: “History has its eyes on you.”
Bravo!
Hamilton Manila is at par with Hamilton Broadway, even if the multi-racial cast is different: DeAundre’ Woods as Aaron Burr; Akina Edmonds as Angelica Schuyler; Darnell Abraham as George Washington; and David Park as Marquis de Lafayette/Thomas Jefferson.
I even think the actors who played Hamilton and Washington, with apologies to the great Lin-Manuel Miranda, were better than the Broadway version I saw on Disney+.
Rachelle Ann Go’s voice is superb, but she should wear heels (if she can), to truly stand out. On Eliza, whom she portrays, rests the last images of the musical, and to a great extent, the verdict of the audience.
The Solaire theater is world-class, with world-class acoustics, and everyone heeded King George’s admonition at the very start of the show to keep their phones on silent and take photos only at curtain call.
Politicos and parents, spin doctors and soldiers, anyone at the crossroad of their lives or even past it, Hamilton is worth your three hours (and the ticket cost).
Just remember, “Don’t throw away your shot” because “History has its eyes on you.”
How about you, who will tell your story?
You may e-mail me at joanneraeramirez@yahoo.com. Follow me on Instagram @joanneraeramirez