Revolutionary Musical Hamilton Returns to Hartford's BushnelL
By Kiersten Bjork (November 11, 2025)
Last at The Bushnell in Hartford, CT in 2022, the groundbreaking musical Hamilton returns in full force now through November 16. Following the story of the “ten dollar founding father without a father,” Hamilton chronicles the life of Alexander Hamilton from beginning to end, featuring iconic moments from American history such as the revolutionary war and early presidential elections, as well as significant personal moments–including an affair and the loss of his son. Inspired by the book Alexander Hamilton by Ron Chernow, the show’s book, music, and lyrics are all penned by visionary theatremaker Lin-Manuel Miranda. Alex Lacamoire provides music supervision and orchestrations, with arrangements by Lacamoire and Miranda and music direction by Emmanuel Schvartzman. Michael Keller and Michael Aarons serve as music coordinators, with Matt Gallagher as associate music supervisor. Choreography is by Andy Blankenbuehler (associate and supervising choreographer Stephanie Klemons, supervising choreographer Michael Mindlin), with direction by Thomas Kail (associate and supervising director Patrick Vassel).
Even after more than a decade, Hamilton is still a powerful production that boasts strong performances, clever staging and choreography, and dynamic storytelling–all wrapped up in the musical artistry of Miranda’s writing and compositions. The current touring company brings their own takes to the roles, while still retaining the integrity of the original performances that many audience members may expect after listening to the cast album or watching the recorded production on Disney+. Any time there is a long-running show, it’s always interesting to see what a new actor will try with a role, and I was very pleasantly surprised by the new moments and nuances I found in the touring production, despite having seen and listened to various versions of the show over the years.
Last at The Bushnell in Hartford, CT in 2022, the groundbreaking musical Hamilton returns in full force now through November 16. Following the story of the “ten dollar founding father without a father,” Hamilton chronicles the life of Alexander Hamilton from beginning to end, featuring iconic moments from American history such as the revolutionary war and early presidential elections, as well as significant personal moments–including an affair and the loss of his son. Inspired by the book Alexander Hamilton by Ron Chernow, the show’s book, music, and lyrics are all penned by visionary theatremaker Lin-Manuel Miranda. Alex Lacamoire provides music supervision and orchestrations, with arrangements by Lacamoire and Miranda and music direction by Emmanuel Schvartzman. Michael Keller and Michael Aarons serve as music coordinators, with Matt Gallagher as associate music supervisor. Choreography is by Andy Blankenbuehler (associate and supervising choreographer Stephanie Klemons, supervising choreographer Michael Mindlin), with direction by Thomas Kail (associate and supervising director Patrick Vassel).
Even after more than a decade, Hamilton is still a powerful production that boasts strong performances, clever staging and choreography, and dynamic storytelling–all wrapped up in the musical artistry of Miranda’s writing and compositions. The current touring company brings their own takes to the roles, while still retaining the integrity of the original performances that many audience members may expect after listening to the cast album or watching the recorded production on Disney+. Any time there is a long-running show, it’s always interesting to see what a new actor will try with a role, and I was very pleasantly surprised by the new moments and nuances I found in the touring production, despite having seen and listened to various versions of the show over the years.
Nathan Haydel, Tyler Fauntleroy, Jared Howelton, Elvie Ellis, and the company of the Hamilton National Tour - (c) Joan Marcus 2024
Leading the charge as Alexander Hamilton is Tyler Fauntleroy, whose portrayal of the founding father captures his drive, his ambition, his spunk, and all his flaws. Fauntleroy is powerful and poised, every moment and choice clear and weighted, his delivery crisp and intentional. His final monologue/spoken word moment opposite Aaron Burr in the duel is breathtaking. Opposite Fauntleroy is Jimmie “JJ” Jeter as Burr, who does excellent work and brings out some of the humorous moments in the show with witty delivery. Jeter truly conveys Burr’s arc, bringing us along on the journey as Burr spirals towards the story’s unfortunate end.
The Schuyler sisters–Angelica, Eliza, and Peggy–are portrayed by Marja Harmon, Lauren Mariasoosay, and Lily Soto, who play off of each other wonderfully. Harmon is fierce, her “Satisfied” piercing yet polished, showcasing Angelica’s wit and longing–all rolled into one. Mariasoosay is a delight, a soft sweetness to her performance that builds into her passionate rendition of “Burn.” The pure emotion pouring from her following “Blow Us All Away” and in the final moments of the show is truly moving. Soto is fun as the young Peggy, but turns on a dime and shows off her depth as a performer when she becomes the seemingly sad yet sinister Maria Reynolds.
A.D. Weaver is a showstopper as George Washington, in the best way. His rich tone and commanding presence convey the legendary general with all the strength needed, and his “One Last Time” is incredibly moving. Christian Magby, Elvie Ellis, and Jorge Guerra bring great energy, charm, and wit to the roles of Marquis de Lafayette/Thomas Jefferson, Hercules Mulligan/James Madison (role usually played by Kai Thomani Tshikosi), and John Laurens/Phlip Hamilton (role usually played by Nathan Haydel), respectively. Magby gives an explosive performance as Lafayette, and his Jefferson is suave, though slippery. Ellis is a powerful Mulligan, before giving us the exact opposite energy as Madison, delicately coughing into his handkerchief. Ellis was a favorite of mine in the recent national tour of Jesus Christ Superstar, where he played Judas, and so it was quite fun to see him in a totally different type of role, yet still absolutely owning it. Guerra’s Laurens is dedicated, and his Philip is downright adorable–the entire audience got a laugh out of his choice of exit up the stairs.
Ever an audience favorite, King George III is played by Matt Bittner, who gives us pure comedy via clever blocking and character choices. Every time he enters, he takes it up a notch, and it works brilliantly. Auston Henderson has several fun moments as Philip Schuyler, James Reynolds, and the Doctor, which are well played, while Alex Dorf as Samuel Seabury can’t help but make you laugh as he faces off against Hamilton. Swing Kevin Murakami (co-dance captain) was on for Charles Lee (role usually played by Will Jewett), and he shines in Lee’s brief track, while Nathanael Hirst steps out as George Eacker and breaks the audiences’ hearts on the other end of the pistol that snuffs out Philip.
Rounding out the company is the talented ensemble, featuring Miriam Ali, Phillip Deceus, Cyndal Gilmore, Sabrina Harrison, Oshie Mellon, and Aisha Sougou, with standbys Chibueze Ihuoma, Amanda Simone Lee, and Michael Natt, and swings Taylor Broadard, Arjaye Christina, Terrance Martin, Taeko McCarroll (co-dance captain), Desmond Nunn (universal dance resident), and Daniel Thimm. Across the board, the ensemble is a force to be reckoned with. The choreography in this production is a masterclass in visual storytelling, and this company brings power and grace, and energy and stillness in every moment, bringing the entire show together with their contributions.
The Schuyler sisters–Angelica, Eliza, and Peggy–are portrayed by Marja Harmon, Lauren Mariasoosay, and Lily Soto, who play off of each other wonderfully. Harmon is fierce, her “Satisfied” piercing yet polished, showcasing Angelica’s wit and longing–all rolled into one. Mariasoosay is a delight, a soft sweetness to her performance that builds into her passionate rendition of “Burn.” The pure emotion pouring from her following “Blow Us All Away” and in the final moments of the show is truly moving. Soto is fun as the young Peggy, but turns on a dime and shows off her depth as a performer when she becomes the seemingly sad yet sinister Maria Reynolds.
A.D. Weaver is a showstopper as George Washington, in the best way. His rich tone and commanding presence convey the legendary general with all the strength needed, and his “One Last Time” is incredibly moving. Christian Magby, Elvie Ellis, and Jorge Guerra bring great energy, charm, and wit to the roles of Marquis de Lafayette/Thomas Jefferson, Hercules Mulligan/James Madison (role usually played by Kai Thomani Tshikosi), and John Laurens/Phlip Hamilton (role usually played by Nathan Haydel), respectively. Magby gives an explosive performance as Lafayette, and his Jefferson is suave, though slippery. Ellis is a powerful Mulligan, before giving us the exact opposite energy as Madison, delicately coughing into his handkerchief. Ellis was a favorite of mine in the recent national tour of Jesus Christ Superstar, where he played Judas, and so it was quite fun to see him in a totally different type of role, yet still absolutely owning it. Guerra’s Laurens is dedicated, and his Philip is downright adorable–the entire audience got a laugh out of his choice of exit up the stairs.
Ever an audience favorite, King George III is played by Matt Bittner, who gives us pure comedy via clever blocking and character choices. Every time he enters, he takes it up a notch, and it works brilliantly. Auston Henderson has several fun moments as Philip Schuyler, James Reynolds, and the Doctor, which are well played, while Alex Dorf as Samuel Seabury can’t help but make you laugh as he faces off against Hamilton. Swing Kevin Murakami (co-dance captain) was on for Charles Lee (role usually played by Will Jewett), and he shines in Lee’s brief track, while Nathanael Hirst steps out as George Eacker and breaks the audiences’ hearts on the other end of the pistol that snuffs out Philip.
Rounding out the company is the talented ensemble, featuring Miriam Ali, Phillip Deceus, Cyndal Gilmore, Sabrina Harrison, Oshie Mellon, and Aisha Sougou, with standbys Chibueze Ihuoma, Amanda Simone Lee, and Michael Natt, and swings Taylor Broadard, Arjaye Christina, Terrance Martin, Taeko McCarroll (co-dance captain), Desmond Nunn (universal dance resident), and Daniel Thimm. Across the board, the ensemble is a force to be reckoned with. The choreography in this production is a masterclass in visual storytelling, and this company brings power and grace, and energy and stillness in every moment, bringing the entire show together with their contributions.
(l-r) Lauren Mariasoosay, Marja Harmon, and Lily Soto in the Hamilton National Tour - (c) Joan Marcus 2024
The now-iconic set designed by David Korins is the perfect home for this revolutionary story. Wood and brick frame the stage, with different platforms, staircases, and moving pieces that all have a wooden scaffolding feel rounding out the overall look. The scenic choreography is smart, and adds nice dynamic elements to the storytelling.
Lighting designer Howell Binkley works magic with this show, painting with light and color to create a truly stunning work of art. The colors in particular are beautiful, and so many of the numbers end with fantastic looks on the button.
Costumes by designer Paul Tazewell are on the simpler side, especially compared to some of Tazewell’s more recent projects, but they are what the story needs. Combining period looks with pops of color and bits of flair, I have always enjoyed the uniformity of the ensemble looks, while still maintaining their individuality. Hair and wig design by Charles G. LaPointe is very well done.
Sound design by Nevin Steinberg is strong, weaving the live vocals, recorded moments, orchestra, and effects together seamlessly.
Lighting designer Howell Binkley works magic with this show, painting with light and color to create a truly stunning work of art. The colors in particular are beautiful, and so many of the numbers end with fantastic looks on the button.
Costumes by designer Paul Tazewell are on the simpler side, especially compared to some of Tazewell’s more recent projects, but they are what the story needs. Combining period looks with pops of color and bits of flair, I have always enjoyed the uniformity of the ensemble looks, while still maintaining their individuality. Hair and wig design by Charles G. LaPointe is very well done.
Sound design by Nevin Steinberg is strong, weaving the live vocals, recorded moments, orchestra, and effects together seamlessly.
(l-r) Elvie Ellis, Nathan Haydel, Jared Howelton, and Tyler Fauntleroy in the Hamilton National Tour - (c) Joan Marcus 2024
Hamilton is as incredible as ever, and I encourage you to catch the latest company bringing this historic tale to life. Experience the national tour of Hamilton at the Bushnell through November 16, or head to hamiltonmusical.com/us-tour/ to see where the show is headed next!
Hamilton plays November 4-16, 2025, at The Bushnell in Hartford, CT. Learn more and purchase tickets at bushnell.org/shows-concerts/hamilton or by calling the Box Office at (860) 987-5900.
Kiersten Bjork is a professional theatremaker, performer, and reviewer (Connecticut Critics Circle) from Branford, CT.
Hamilton plays November 4-16, 2025, at The Bushnell in Hartford, CT. Learn more and purchase tickets at bushnell.org/shows-concerts/hamilton or by calling the Box Office at (860) 987-5900.
Kiersten Bjork is a professional theatremaker, performer, and reviewer (Connecticut Critics Circle) from Branford, CT.