On June 8, 2025, the original cast of “Hamilton” reunited at the 78th Annual Tony Awards to perform a medley celebrating the show’s 10 year anniversary. Fans of the musical immediately began dissecting the performance, which lasted just over four minutes, to find symbolism layered in the costuming, lighting and composition of the songs.
One of the most glaring bits of symbolism that takes no digging to uncover lies in the cast wearing all black, with the notable exception of Jonathan Groff, who wore a blood-red jacket. The significance? Groff originated the role of King George III.
Just last weekend on June 14, less than a week after the aforementioned Tony performance, an estimated five million Americans took to the streets in hundreds of protests across the country for what was dubbed “No Kings Day.” The chants and signs that flooded the streets were anti-authoritarianism and pro-democracy, with special attention paid to immigrant rights.
Why am I telling you this? Well, there’s not much to say about Lin-Manuel Miranda’s “Hamilton” that hasn’t already been said. The show has been a worldwide phenomenon for 10 years. It won 11 Tony Awards, seven Drama Desk awards, seven Olivier Awards, a Grammy and the 2016 Pulitzer Prize. The creative elements of the Broadway Tour now stationed at Playhouse Square have remained largely consistent for the millions of people who have already enjoyed the musical on Broadway, in theaters across the globe or via streaming service. This iconic imagery is delivered with great quality by Thomas Kail (director), David Korins (scenic design), Paul Tazewell (costume design) and Howell Binkley (lighting design).
The major difference between the “Hamilton” on stage in Cleveland and the “Hamilton” that you’ve come to know is the cast (of course), but perhaps more notably, it’s the social and political landscape within which the show is being performed.
Art does not exist within a vacuum; one of the most beautiful things is its ability to provide commentary, provoke thought and prompt discussion that draws parallels between the story crafted by the artist and the reality in which we live. “Hamilton,” as proven by the Tony performance that set the internet chattering, is uniquely poised for audiences to draw parallels to today’s climate.
“Hamilton” is not just the story of founding father Alexander Hamilton set to rap and hip-hop, it’s a commentary on how the founding of America was due in large part to the sacrifice and sweat of immigrants dreaming of better lives. This is portrayed both lyrically (“Immigrants, we get the job done”) and visually with the color-contradictory casting of America’s founding fathers. Watching people of color embody immigrants or the daughters and sons of immigrants laboring over the foundation of the American democracy and Constitution especially resonates right here and now.
So now that we’ve established that “Hamilton,” does in-fact still resonate (perhaps even more than it did 10 years ago), let’s get into the performance.
Opening night had five substitutions to the cast, most notably in the roles of Alexander Hamilton, Aaron Burr, John Laurens/Philip Hamilton and King George.
Nathan Haydel as Hamilton was fantastic. His voice has a smooth, R&B feel, and his youth breathes energy and a new zeal into the character during Act I. Haydel typically plays John Laurens/Philip Hamilton, but Desmond Nunn does a fine job as the revolutionary and eldest son of Alexander. Understudying King George was Elvie Ellis, who was in equal parts stern and gleeful in the character’s typical, fan-favorite fashion.
During Broadway tours, it’s not often possible to tell when an understudy steps into a role due to the high caliber of talent of the cast, as is the case with the aforementioned actors. Sadly, this could not be said for Hosea Mundi understudying as Aaron Burr. Mundi didn’t deliver the vocal power expected of Burr, especially during the song “Wait for It,” which is typically a show-stopper but was disappointingly underwhelming during this performance. To his credit, the emotion Mundi displayed during “The World Was Wide Enough” was flush with power.
Jared Howelton is uber emotive as Thomas Jefferson, making the character especially ridiculous as well as enjoyable. A.D. Weaver makes the role of George Washington his own with his deep, rich baritone that demands reverence.
Marja Harmon, Lauren Mariasoosay and Lily Soto play Angelica, Eliza and Peggy Schuyler, respectively. All are beautiful vocalists, but Mariasoosay hits some especially emotional notes in Act II.
Much of “Hamilton’s” striking visuals are derived from a large ensemble executing Andy Blankenbuehler’s fluid, ambitious choreography–and this talented cast certainly delivers.
Were the “Hamilton” performers at the Tony’s wearing black to signify mourning? Did they design the medley so that Jonathan Groff only performed the nonsensical “da-ya-das” of King George III’s songs? Was the performance just a performance, or was it a statement? That’s for you to decide, but just remember that artistic decisions are rarely ever made flippantly.
Want a closer look at how messaging in “Hamilton” feels more pertinent than ever? The show plays in Cleveland through July 6.
“Hamilton” runs through July 6 at Playhouse Square,1501 Euclid Avenue
Cleveland. Visit playhousesquare.org or call (216) 241-6000 for tickets, $81-237.
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This article appears in Cleveland SCENE 06/19/25 Burger Week.