Review: The rich history of “HAMILTON” dazzles in Dallas as the show’s legacy continues to grow

“HAMILTON” runs from now through June 9 at the AT&T Performing Arts Center’s Winspear Opera House and June 11-23 at Bass Performance Hall.

A logo for “HAMILTON” – Courtesy of the AT&T Performing Arts Center

Alexander Hamilton is a man deeply concerned about making his mark on the new country he calls home. Between his role in the fight for independence and his struggles to establish a financial system for the United States, audiences worldwide have fallen in love with Hamilton’s tireless quest to create a lasting legacy. Along the way, the musical has undeniably cemented a legacy of its own. Between 11 Tonys, a Broadway film on Disney+ and near universal praise, “HAMILTON” is already a pop culture icon.

A legacy like that leads to lofty expectations. Luckily, for Dallas and Fort Worth audiences, the cast of the ongoing North American tour of “HAMILTON” certainly doesn’t throw away its shot to build on that legacy. The opening night performance of the tour’s residency at the Winspear Opera House was full of the dynamic vocal performances and precision choreography that brought Lin-Manuel Miranda’s musical to life for the Dallas audience.

There was a sense of awe when Blaine Alden Krauss announced himself as Alexander Hamilton in the musical’s opening number. It was a feeling that came from having the opportunity to see this sensation for yourself firsthand. A common theme felt throughout the night was the crowd’s familiarity with “HAMILTON,” which should come as little surprise given the show’s popularity. With that said, it’s all the more credit to the cast that the show never lost that awe-inspiring feeling.

Krauss’ non-stop performance as Hamilton was essential in that respect. For as much praise as there should be for the technical genius of Miranda’s writing, there should be equal praise for the technical ability required of the lead performers in his shows. From jam-packed raps delivered with a tenacious never-back-down attitude to the delicate emotional touch needed for the love story weaved between the politics, Krauss delivered it all in his performance.

McKinney Repertory Theatre "Catch Me If You Can"
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It’s the kind of energy that’s carried throughout the show, from the cast’s expertly timed choreography on a rotating floor in the middle of the set to the comedy they infused into the history unfolding onstage. As set pieces whirl in and out during scenes to recreate bars, tense meetings for political back deals and intimate moments between spouses, Miranda filled “HAMILTON” with a kinetic energy to match the fast-paced history lessons in the songs within it.

Comedic moments were likewise plentiful. Jared Howelton and John Devereaux (filling in for Eddie Ortega) had a gift for putting just the right amount of emphasis on the humor in their dual roles as Marquis de Lafayette/Thomas Jefferson and Hercules Mulligan/James Madison. Whether they worked alongside Hamilton in the Revolutionary War in the first act or against him as political rivals in the second, it made them easy to root for. Paul Louis Lessard’s hilarious performance as King George similarly stood out. He cracked up the audience with a devilishly catchy pop performance of “You’ll Be Back,” which elicited huge laughs and applause.

The show’s real triumph is its balance between crowd-pleasing comedy and high-energy numbers alongside the intimate, intense moments of personal drama. As the show follows Hamilton through his role alongside George Washington (played with all the appropriate grandeur by Carvens Lissaint) in the Revolutionary War and into the turmoil of a new country learning how to govern, audiences see both sides of the show in equal balance.

Deon’te Goodman’s performance as Aaron Burr exemplifies that balance. In the history books, Burr physically stands opposite Hamilton in one of the crucial moments that define the public’s memory of them both. In the play, Burr’s reserved political opinions and soft-spoken ambitions frequently stand opposite Hamilton’s passionate energy as the two cross paths throughout the show. Nonetheless, Goodman brings a deftness to his performance that underlines the personal similarities between the two.

When the show shifts from the political to the deeply personal, “HAMILTON” continues to shine. The love story between Alexander and his wife Eliza Schuyler, played by Kendyl Sayuri Yokoyama, is captivating and made all the more impactful by Yokoyama’s impressive vocals in songs like “Helpless.” Intertwined with great performances from Lencia Kebede, Milika Cherèe and Tyler Fauntleroy, their relationship is both compelling and touching.

From top to bottom, this tour of “HAMILTON” is an amazing continuation of the legacy created by the original Broadway production. With a script that’s just as relevant and impactful as ever delivered by an incredible cast, there’s no doubt you’ll want to be in the room where “HAMILTON” happens while it’s in DFW.

“HAMILTON” is scheduled to run through June 9 at the AT&T Performing Arts Center’s Winspear Opera House in Dallas and June 11-23 at Bass Performance Hall in Fort Worth. For more information about the tour, visit


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