I caught the Hamilton pro shot on Thursday night. I haven’t really sat down and watched it since the musical came out on Disney five years ago, and haven’t seen it in person since 2019, when I saw it on tour.
While I have expressed some melancholy about the ironic twist of American Then (when the show first came out) versus America Now, and whether the show is an Obama era relic, there’s still a jolt in watching it on the big screen. It’s a brilliantly crafted musical with a marvelous cast. Leslie Odom Jr. is a bit inconsistent compared to how I remember him live but he nails his big songs and moments. Everyone else is wonderful. Daveed Diggs, my goodness. The fantastic Winter’s Ball-Helpless-Satisfied run. Miranda’s ability to knock out fantastic song after fantastic song is a marvel.
But what struck me in 2025 is the second act, and all the unsubtle hints and musical cues that make Hamilton’s tragic downfall inevitable. As a work of historical fiction, it’s all about hubris and the shifts in public opinion that shape history and how individuals are viewed. Miranda repeatedly, in an optimistic musical written during an optimistic time, emphasizes the lack of control any of us has about how others view what we did. Things can go awry. The winners write the history books. Maybe that’s revised later. Maybe it’s not. Your mistakes, especially high-profile errors, are remembered more than your more important achievements. That’s how it goes.
It is a rather downbeat message for a big, patriotic musical. No abrupt discussion of Eliza’s orphanage - a private act of charity, not a government initiative - at the tail end of the last song can change that. I didn’t watch the film tonight thinking Hamilton was a relic. It’s a product of its time, like any work of art. But it holds up better than I expected.
Updated On: 9/12/25 at 01:59 AM