Hamilton: A Broadway Sensation

a legacy forged in fire and ink

A young man, just 19, determined to fight for his country—driven by passion, purpose, and the need to prove himself. He didn’t throw away his shot. That man became Hamilton. A revolutionary musical that retells the story of America’s founding fathers, Hamilton blends history with hip-hop, heartache with hope. Over the past year, it’s become one of my most cherished musicals. From its powerful production and nonstop music to the lingering feeling it leaves behind, Hamilton grips me every time—whether I’m watching from a screen or from a theatre seat, chills run down my spine. It’s a masterful, melodic experience that breathes new life into history, capturing not just one man’s story, but a nation’s fight for identity.

Here we are, going through every intricate detail that goes into this production. We won’t miss a single thing. This might be the longest blog posted ever posted because I just can;t get enough of Hamilton, their charming voices, elegance in acting, and the beauty of the plot has gotten me stuck, allowing me to be able to do a one-man show of this whole musical, memorizing song-by-song and line-by-line. 

Let’s see where history takes us, shall we?

*people within the productions are as follows*

Broadway Full Cast: 

Alexander Hamilton: Lin-Manuel Miranda

Eliza Hamilton: Phillipa Soo

Aaron Burr: Leslie Odom Jr.

Angelica Schuyler: Renée Elise

Marquis de Lafayette/Thomas Jefferson: Daveed Diggs

George Washington: Christopher Jackson

Hercules Mulligan/James Madison: Okireiete Onadowan

King George: Jonathan Groff

John Laurens/Phillip Hamilton: Anthony Ramos

Peggy Schuyler/Maria Reynolds: Jasmine Cephas Jones

Broadway Crew:

Creator/Book/Music/Lyrics: Lin-Manuel Miranda

Director: Thomas Kail

Choreographer: Andy Blankenbuehler

Musical Director/Orchestrations/Arrangements: Alex Lacamoire

Historical Consultant/Biography Author: Ron Chernow

Science Design: David Korins

Costume Design: Paul Tazewell

Lighting Design: Howell Binkley

Sound Design: Newvin Steinberg

Hair and Wig Design: Charles G/ LaPointe

Orchestrations: Alex Lacamoire

Associate Music Direction: Kurt Crowely

Music Coordinator: Michael Keller

Production Stage Manager: John M. Atherlay

Stage Manager: Beverly Jenkins

Assistant Stage Manager: Jason Bassett

Lead Producer: Jeffery Seller

Co-Producers: Sander Jacobs, Jill Furman, The Public Theatre

Hamilton made its grand debut on August 6, 2015, following preview performances that began on July 13 at the Richard Rodgers Theatre in New York City. It was the night of nights—a breakthrough moment for a once-small musical that would go on to reshape the world of theatre. With its brilliantly written story and bold retelling of America’s founding, Hamilton shed light on truths often left in the shadows. Every laugh, tear, and standing ovation marked a pivotal step toward its rise to cultural phenomenon.

There’s a lot to unpack with this one, so let’s take it one beat at a time.

Introduction:

The musical opens in a way few others do—with a voiceover by King George III himself, setting the stage in character before a single spotlight even hits. Then comes the first number, “Alexander Hamilton,” a powerful opener that maps out the arc of Hamilton’s life and introduces the key figures in his story. Each entrance is precise, choreographed with intention—every step, turn, and glance pulsing with meaning. All the ensemble members wear neutral beige costumes, except for Aaron Burr. This subtle contrast quietly hints at his distinct role in the narrative and foreshadows the tension to come.

Throughout the musical, Aaron Burr takes on the role of a narrator, guiding us through Hamilton’s life—which might explain the distinction in his costume during the opening number. His outsider status, even visually, sets the tone for his complex relationship with Hamilton. One of the most striking elements in “Alexander Hamilton” is how each lyric is paired with precise, story-driven choreography. For instance, when the line “Moved in with a cousin, the cousin committed suicide” is sung, a group of dancers behind Hamilton performs a brief yet powerful movement sequence that illustrates the cousin’s death. These subtle but intentional moments give the audience a clearer, more visceral understanding of the narrative. It’s not just storytelling—it’s storytelling in motion.

Continuing on, one of the most noticeable tools used throughout “Alexander Hamilton” is repetition—particularly the line “In New York you can be a new man.” This phrase is echoed several times toward the end of the song, reinforcing the theme of reinvention and possibility. As these words build, so does the energy on stage. The choreography becomes more dynamic, the ensemble’s voices grow louder, and the lights begin to shift—everything starts to feel like it's heading somewhere bigger. At the climax, the ensemble delivers the line “Alexander Hamilton, we are waiting in the wings for you” with power and urgency. It’s not just a lyric—it’s a moment that breaks through, signaling to the audience that something is about to begin. It builds the tension and anticipation for Hamilton’s entrance into the heart of the revolution and into history itself. At the same time, he’s handed a dark brown coat, a visual cue that symbolizes his rise. That costume change, paired with the rising intensity, marks the beginning of Hamilton stepping into his legacy.

Honestly, just watching the opening number gives me chills. In only a few minutes, we’re given everything we need to know—we meet the main character, we feel the stakes, and we understand the tone of what’s to come. The intensity builds not only through the music, but also through the shifting spotlights that highlight each character, subtly revealing their roles in Alexander Hamilton’s life. As the song reaches its final beats, there’s a striking moment where Aaron Burr steps aside, and Hamilton is revealed—alone at center stage. It’s a powerful image. The sharp, clean ending is met with well-earned applause, as the story is only just beginning.

The transition to the next song, “Aaron Burr, Sir,” isn’t flashy—but it works seamlessly. The beat slows down, grounding us into the beginning of the actual story. The scene is painted as night falls, setting the stage for Hamilton and Burr’s first meeting. One detail I find especially clever is how nearly every song mentions a specific year or date. In this one, it’s “1776.” It’s such a smart and subtle way to anchor the audience in history—teaching through rhythm and rhyme without ever feeling like a lesson.

Now, into the song. As the lyrics begin, the dancers around them stand still—framing the moment with focus on Aaron Burr and Hamilton as they begin to talk. This pause in movement draws our eyes directly to their interaction. Through their conversation, we begin to understand Aaron Burr’s background—his life, his studies, and the intellect that helped him rise to his position. It’s a subtle but powerful way to introduce Burr’s character: calm, composed, and calculating—setting the tone for the tension that brews between him and Hamilton later on.

As soon as their conversation ends, the stage transforms—from a dimly lit night on the streets to a bustling pub scene filled with energy. Suddenly, we’re surrounded by a chorus of voices, drinks clinking, and laughter echoing through the room. The music shifts into a rhythm-heavy, non-instrumental rap, introducing us to three key figures: John Laurens, Marquis de Lafayette, and Hercules Mulligan. One by one, they rap their names and boldly state their significance in this historical timeline—each with their own flair, attitude, and revolutionary spirit. It's a bold entrance that blends character with charisma, bringing the heartbeat of rebellion to life.

Further into their rap, the trio catches sight of Aaron Burr watching from the sidelines. This moment acts as a soft bridge, and soon enough, their attention turns to Hamilton. With the playful and pointed chant, “Ooh, who you? Who you? Who are you?”, curiosity sparks—and just like that, Hamilton steps into the spotlight once more. The scene seamlessly transitions into the next number, “My Shot,” where Hamilton passionately reveals his ambitions and ideals. He opens up about his dreams, his drive, and his determination—not to old friends, but to three strangers who are just beginning to understand who this man really is.

In this song, we also get a glimpse into the political climate of the time—the growing tension between Britain and America. As the four men begin to brainstorm revolutionary ideas, the excitement builds. But Aaron Burr steps in with caution, warning that getting involved might not be the smartest move. Meanwhile, the ensemble begins to chant the iconic line, “I am not throwing away my shot,” creating a surge of energy and building Hamilton’s confidence.

Throughout the song, there are brief moments of stillness—almost like we're stepping into Hamilton’s mind as he begins to second-guess himself: what he's doing, how he’s doing it, and what the consequences might be. But those doubts are quickly drowned out by the chorus of encouragement and support around him. As the chants of “I am not throwing away my shot” blend with “Rise up,” the atmosphere becomes electric.

Just as the energy peaks, the stage clears and the tempo slows, leading into the next song, “The Story of Tonight.” It’s a brief, reflective pause in the whirlwind of revolution—a quiet celebration of friendship and purpose, ending with a powerful sense of unity and hope.

The next song begins as the actors unfreeze, continuing their chant of “Woah woah woooah,” which slowly transitions into a softer, more reflective tune. The atmosphere shifts as the characters start to dream out loud about the future and what lies ahead. With raised glasses and visible signs of having had a few rounds of drinks, they toast to hope, brotherhood, and the revolution still to come.

Okay, the final of introduction songs and my favorite introduction song goes to “The Schuyler Sisters”, in this song we meet 3 sisters that are roaming the streets as they gaze around. The youngest, Peggy, worrying about how their father might react if he found out they were here, the middle child, Eliza, just following the eldest sisters lead and finally the eldest sister, Angelica, as she happily tries to find a working man in is habitat. In this song we are narrated by Burr, which then he appears to be flirting with Angelics as they bump into him. 

In this song, as Burr begins a conversation with Angelica, the three sisters join together in harmony and start reciting lines from the Declaration of Independence. This moment reveals Angelica’s sharp intellect and strong ideals—she doesn’t just want a revolution, she wants a revelation. Her passion for justice and equality shines through, showing us her deeper desire for change beyond politics.

Beyond that, Eliza begins with the line, “Look around, look around at how lucky we are to be alive right now,” portraying her as an optimistic and open-hearted individual. Her gentle spirit contrasts beautifully with Angelica’s fiery intellect. As the song progresses, overlapping lyrics weave together—each sister expressing her own perspective until their voices blend in harmony. Near the end, we’re reminded of their names and individual reasons for being in the city. The song wraps up with a dynamic riff and an energetic bang, leaving a lasting impression of the Schuyler sisters’ strength and unity.

The next song, honestly, is probably the least exciting for me. It feels a little unimportant and kind of boring—but in terms of character development, it really highlights Hamilton’s ambition. This is “Farmer Refuted.” In the scene, Hamilton quickly shuts down a loyalist messenger who’s reading a speech to the public, likely in a town square setting. But enough of that, because what comes next is a total shift in energy. Drums roll, and voices shout, “Silence! A message from the king!” If you're a Hamilton fan, you already know what's coming—“You’ll Be Back.”

This hilarious number, “sent” by King George III, is a crowd favorite. The actor completely commits to the exaggerated personality of a pompous, slightly unhinged king, and his facial expressions are priceless. The second the intro starts, you can feel the buzz—audiences laugh, cheer, and clap even before the first line is sung. It’s easily one of the most iconic moments in the show, offering comic relief while still fitting perfectly into the storyline.

Climax:

After all the introductions to the characters, the political tension, and the historical setting, we reach a pivotal turning point in the musical: the song “Right Hand Man.” This is where the energy shifts dramatically, and we feel a rush of urgency, fear, and the looming presence of war. In this number, we are introduced to George Washington, portrayed as a commanding and strategic leader trying to hold together a crumbling revolution. As the battle intensifies, Hamilton is appointed as Washington’s "right-hand man"—a moment that signals his rise in both political and military significance.

The choreography here brings the chaos of the battlefield to life. The dancers clearly distinguish the Americans from the British using coat colors, cleverly painting the tension of war without elaborate set changes. The use of onomatopoeia—gunfire sounds, stomps, and shouted commands—adds to the raw, immersive feel of the number. Once again, Aaron Burr steps in as the narrator, this time to introduce Washington, keeping his role as the observer and commentator on Hamilton’s journey. It's a powerful scene that blends storytelling, music, and movement to reflect the weight of the war and Hamilton’s evolving legacy.

Additionally, in this song we continue to see a rise in tension between Hamilton and Burr as they both compete for the chance to stand beside Washington. While Burr has experience and restraint, Hamilton’s boldness and ambition win out—furthering the divide between them and laying the groundwork for future conflict.

We’re then greeted with a familiar musical motif that threads through much of the show, leading us into a more modest and elegant setting in the song “A Winter’s Ball.” In contrast to the high-stakes tension of the previous numbers, this moment allows the cast to loosen up a bit—the tone is more playful, the choreography flirtier. The actors get to have fun with their characters as the stage transforms into a ballroom of charm and wit.

This short but memorable number transitions seamlessly into one of my absolute favorites: “Helpless.” Sung by Eliza, this song captures the feeling of love at first sight—told entirely from her perspective. As the melody unfolds, we’re brought along on a timeline that shows how quickly her feelings grow, from meeting Hamilton to the letters they exchange, to the day of their wedding.

“Helpless” has always stood out to me. It’s flowy, free, and honestly—relatable. It expresses love in such a raw and feminine way, like the kind of love you want to bottle up and keep forever. It’s a beautiful showcase of Eliza’s heart—her sincerity, vulnerability, and excitement—as well as the social expectations placed on her. Through her voice, we see a genuine, emotional connection to Hamilton that sets the stage for all that’s to come.

As the wedding scene closes out “Helpless,” we’re swept straight into “Satisfied,” a powerful ballad led by Angelica. This song peels back the joyful layers of the wedding and reveals the pain and guilt Angelica carries as the older sister who always puts her family first. It rewinds the scene from her perspective, showing us the moment she fell for Hamilton—only to let him go for the sake of Eliza’s happiness.

Honestly, this song comes close second to being my favorite. It’s not just about heartbreak—it’s about sacrifice, repressed love, and maybe even a bit of anger. I say that because, personally, when I’m overwhelmed or frustrated, I tend to speak really fast (or so I’ve been told)—and Angelica’s rapid-fire verses give me that same vibe. Her speed feels like controlled chaos, masking how deeply she’s hurting beneath the surface.

The lighting and stage movement in this song are also so on point. The way the scene literally rewinds, paired with sharp spotlighting and shadows, mirrors the inner conflict she’s wrestling with. It’s a beautifully crafted moment of storytelling—projecting raw emotion not just through lyrics, but through every flicker of light and every beat of silence.

Moving on to the next song, “The Story of Tonight (Reprise),” it mirrors the earlier version but takes on a more celebratory tone, shifting focus from war to Hamilton’s wedding. It’s a lighter moment—until things take a turn and Burr is suddenly in the spotlight. The guys begin to playfully interrogate him about the mysterious woman he’s involved with, leading us right into “Wait for It.”

Now, “Wait for It” is definitely my third favorite song in the musical. It dives deep into Burr’s mindset—his caution, his control, and the internal battle between patience and ambition. One line that hits especially hard is “I am the one thing in life I can control”—a powerful admission of how he handles uncertainty by holding back. Then comes the moment that makes me pause every time: “If there’s a reason I’m still alive when everyone who loves me has died, I’m willing to wait for it.” It’s haunting and heartbreaking.

The beat drop later in the song marks a dramatic shift—it’s no longer just about Burr’s philosophy. It becomes a comparison between himself and Hamilton: two men navigating the same world but with completely different approaches. Where Hamilton charges forward, Burr steps back. And in that contrast, we start to really understand Burr—not as a villain, but as someone just trying to survive in his own way.

After the wedding, we’re thrown right back into the chaos of war. Stress and exhaustion weigh heavily on the army, and the atmosphere turns tense. A powerful detail at the beginning of the song “Stay Alive” is the repeated chant of the title phrase, sung by Eliza and Angelica. It almost feels like a prayer, their voices echoing from the balcony above, as if they’re watching over Hamilton from home, hoping he returns safely.

The song gives us a glimpse into everyone’s current state during the war—their positions, their struggles, and the toll it’s all taking. It’s fast-paced and full of urgency, showing that not everything is going smoothly for the revolutionaries. As the situation grows more unstable, the music transitions into the next song, “Ten Duel Commandments”, introducing us to the tension and protocol of dueling during this dangerous time.

Within the song “Ten Duel Commandments,” we’re walked through the rules of dueling, as Laurens prepares to face off against Charles Lee. This moment stems from Lee disrespecting Washington—something Hamilton takes very personally. You can feel the tension rising as Hamilton channels his frustration through Laurens, almost like he sees this duel as a way to prove himself, not just as a soldier, but as someone worthy of Washington’s trust.

As the song progresses, the duel leads to a fallout between Hamilton and Washington, resulting in a heated argument. It’s intense, and it ultimately results in Hamilton being sent home. This moment shifts the story’s tone—away from war and ambition—into something far more personal. At home, Hamilton learns Eliza is pregnant, a moment that directly ties back to Washington’s warning: “Your wife needs you alive.” The scene softens, and the music transitions into the heartfelt song “That Would Be Enough,” capturing Eliza’s quiet strength and the love she holds for Hamilton, even when he feels like he’s failed.

Okay, this is getting really long, so instead of going in-depth one by one, I’ll start linking them together. The next song, “Guns and Ships,” marks the return of Hamilton, but it kicks off with Lafayette’s rise. This song really showcases Lafayette’s energy and drive—his rapid-fire rap style alone brings so much intensity to the battlefield. He plays a crucial role, especially since he’s the one who helps secure aid from France. His success on the field gives him the power to convince Washington to bring Hamilton back into the fight.

That leads us straight into “History Has Its Eyes on You,” a slower, more emotional moment where Washington writes to Hamilton. This song feels like Washington pouring out his soul, sharing the weight of leadership, and offering Hamilton both a warning and a blessing. It’s less about military tactics and more about legacy—about how history will remember them.

Hamilton returns just in time for “Yorktown (The World Turned Upside Down),” a triumphant and powerful number that brings the war to an end. The energy in this song is electrifying, and the choreography mirrors the shift from chaos to hope. You can feel the weight lifting as victory becomes reality.

But just when you think things are wrapping up neatly, King George jumps in again with “What Comes Next?”—a hilariously passive-aggressive solo where he questions what America plans to do now that they’ve got their freedom. It’s a clever reminder that while the war is over, the real struggle of building a nation is just beginning. King George’s tone is almost mocking as he assumes they’ll come crawling back to him when things inevitably fall apart.

The war is followed by a heartfelt fast-forward into the song “Dear Theodosia,” where two spotlights shine on Burr and Hamilton as they welcome their newborn children into the world. It’s a tender, melodic moment—almost like a lullaby—that reveals a softer, more vulnerable side of both men. For a brief moment, we see them not as rivals or soldiers, but as fathers full of hope for the future.

This peaceful pause doesn’t last long, as we launch straight into the powerful and urgent “Non-Stop.” This number picks up the pace both musically and emotionally, capturing Hamilton’s relentless drive and ambition after the war. We watch as Burr becomes increasingly frustrated with Hamilton’s unstoppable energy—while Burr waits and hesitates, Hamilton keeps rising. Throughout the song, key figures in Hamilton’s life reappear, trying to slow him down, caution him, or remind him of what really matters. But Hamilton brushes them off, choosing instead to climb higher and higher, as if nothing and no one can hold him back.

The song builds to a dramatic and breathtaking crescendo, ending Act I with a literal and emotional bang. The lights go down, the audience cheers, and everyone takes a breath—stunned that all of that was only the first half.

Something I would really like to point out in this song is the stage direction and choreography, especially the incredible work done by the ensemble. The dance cast doesn’t just play soldiers or background characters—they become part of the very structure of the story. At times, they form props like tables, lamps, or chairs, but these aren’t ordinary pieces of furniture—they move, they react, and they breathe with the rhythm of the scene. It creates a kind of living, pulsing environment that gives the stage depth and texture.

One moment I particularly admire is right after the line, “Hamilton wrote the other 51.” A sharp spotlight hits Hamilton as the ensemble transforms around him, forming what looks like a human desk while also becoming almost like his inner voices—shouting, echoing, driving him forward. It’s choreographed chaos, but also deeply symbolic, showing how trapped he is inside his own ambition.

It’s a brilliant use of movement and body language, and honestly, the show wouldn’t be the same without the ensemble. They aren’t just background—they are the heartbeat of the musical.

Another brilliant piece of staging is the stepping ground that rises out from the center back of the stage. As Hamilton steps up onto it to close the act, it becomes a powerful visual—he’s quite literally standing on the foundation he’s built, climbing higher, rising above everyone else, but also isolating himself in the process. It’s such a clever use of the set without the need for bulky props. Simple, intentional, and symbolic—just like so much of the genius behind Hamilton.

Act 2: 

Introduction, pushing to Climax:

The intermission ends. Everyone gathers back in their seats, the lights come up. Welcome to Act II—where war fades into political ambition, and death slowly takes center stage.

The act opens with “What’d I Miss,” introducing us to a lively new character: Thomas Jefferson. He enters with flair, portrayed as a playful yet powerful leader of the new America. What’s really impressive is how some cast members from Act I return in completely different roles, showing off their range and skill. The music shifts to a lighter, jazzier tone—but it’s built on a foundation of bold, brassy instrumentation that gives it weight. And once again, the choreography breathes life into the stage. The dancers transform the scene into something vibrant and alive, like the stage itself is waking up.

In this number, Jefferson also fills us in on the current state of France, giving the audience both a fun moment and a bit of history—all wrapped into one dazzling performance.

We’re also introduced to a new ally: James Madison. From the start, it’s clear that he and Jefferson are teaming up—forming a political power duo ready to take on the battles ahead.

Next up is one of the most exciting parts of Act 2: two rap battles between Thomas Jefferson and Hamilton. These scenes are genuinely hilarious and wildly entertaining—they serve as perfect mood boosters and give the audience a fresh burst of energy with their clever, inclusive humor. But beyond the laughs, this is also where we’re first introduced to the rising tension and rivalry between Jefferson and Hamilton, setting the stage for their ongoing political clashes throughout the rest of the act.

One of my favorite songs in Act 2 is “Take a Break.” In this number, we’re introduced to Hamilton and Eliza’s son, who is seen singing and playing piano with his mother—a sweet and tender moment that gives the audience a glimpse of their family life. However, beneath this warmth, the song also reveals Hamilton’s growing ambition and obsession with his political rise. His drive to secure his legacy begins to create distance between him and his loved ones. Eliza pleads for him to spend time with the family, while Angelica—through a letter—notes a change in his tone and priorities. The song beautifully balances affection and growing emotional strain, showing how Hamilton’s relentless pursuit of greatness begins to cost him the people closest to him.

The next song is “Say No to This,” where we’re introduced to Mariah Reynolds, who becomes Hamilton’s mistress. There’s speculation that she seduced him intentionally, working alongside her husband to extort money from Hamilton. While I personally enjoy this plot development, I’m a bit mixed on the choreography—it feels a little too bold for my taste in terms of being PG-13. That said, as a form of art, it’s powerful. The dancing expresses deep emotion and intimacy, helping the audience feel the weight of the moment. The dim lighting, soft lamps, and clever stage design work beautifully to paint the scene—almost like walking home alone through a quiet street at night. It’s subtle but evocative, letting us imagine exactly what they want us to see.

Okay, moving on now.

“The Room Where It Happens” is a show-stopping number that adds a mysterious and intriguing layer to the musical. It’s sung by Aaron Burr as he expresses his growing frustration at being left out of the decisions that shape the future of the country. This song gives off a slick, jazzy vibe that immediately catches the audience’s attention—not just with its catchy rhythm, but with the tension it builds. There’s something almost secretive and sly about it, and as I sat in my seat, I couldn’t help but wonder, What could they possibly be plotting or scheming behind those closed doors? The choreography, lighting, and pacing all add to the suspense, making this moment feel like we’re on the outside of something important—just like Burr. It’s a clever way to keep the audience guessing and completely hooked.

Skipping ahead past the other songs, we arrive at “One Last Time”—a mellow, emotionally rich moment in the musical. This song slows everything down and gives us a powerful goodbye from George Washington as he prepares to step down from the presidency. The performance is beautifully done, with Washington portrayed as calm, wise, and deeply reflective. It’s not just a farewell to his position, but a heartfelt moment that shows his care for the future of the country and his belief in peaceful transition. The actor’s delivery brings out every layer of emotion, and the blend of soft lighting and harmonies adds to the sense of closure and grace. It’s a touching reminder of leadership, humility, and legacy.

Now onto the intense parts of Act 2—“The Adams Administration,” “We Know,” “Hurricane,” and “The Reynolds Pamphlet.” These songs mark the unraveling of Hamilton’s personal life and the height of his ambition and recklessness. In “The Adams Administration,” we feel Hamilton’s growing tension with other political figures, and in “We Know,” his past comes back to haunt him as Jefferson, Burr, and Madison confront him about his affair. “Hurricane” becomes a raw moment of self-reflection, where Hamilton chooses to write his way out of scandal—only to implode his personal life. And finally, “The Reynolds Pamphlet” explodes with chaos and disbelief as he publicly confesses to his affair, destroying his marriage and reputation. These songs show not only his determination to protect his political legacy but also his inability to see how deeply his choices wound those closest to him. It's powerful, frustrating, and unforgettable.

​​These songs together create an intense atmosphere that is beautifully and cleverly played out onstage. The swirling chaos of Hamilton’s downfall is mirrored in the staging—papers fly through the air like fragments of his crumbling world, especially during “Hurricane” and “The Reynolds Pamphlet.” The lighting becomes sharper, colder, and more dramatic, casting deep shadows and flashes that mirror the emotional storm Hamilton is trapped in. Each element—set, choreography, props, and lights—comes together to heighten the drama, making the tension feel physical. It’s not just the songs that deliver the story here—it’s the entire stage breathing with the weight of Hamilton’s choices.’

Now moving on to what I believe is the most important song in the entire musical—“Burn,” sung by Eliza. This song is filled with pure rage, sadness, and frustration, and you can feel every ounce of it as she reflects on her life and realizes all the signs she missed before. It’s a raw, emotional moment that strips everything down to Eliza’s pain. The simplicity of the staging, paired with the power in her voice, makes this one of the most heartbreaking yet beautiful parts of the show. Personally, I love singing and screaming to this song as if I’m in Eliza’s shoes—it’s that powerful and relatable.

The mix of songs that lead up to both Hamilton’s and his son’s deaths carry a raw and beautifully layered sense of sadness. Each one builds on the last, creating a cascade of heartache that is so intensely human. As an audience member—even just watching through a screen—the moment Eliza screams in horror is unforgettable. It’s a masterpiece of emotion, one that genuinely brings me to tears every time. There’s something about that scene that makes me feel like I’m part of it, like I’m there with them. I can’t even fully explain it—these songs balance grief and forgiveness in a way that words can’t quite capture.

What I still don’t understand is how Eliza found it in her heart to forgive Hamilton so easily, especially after he basically talked their son into that duel. But moving into Hamilton’s own death, I love the song “Your Obedient Servant.” It has this clever, melodic way of turning an argument into a performance—it’s snappy, sharp, and builds so much tension. Then “The World Was Wide Enough” brings that all to a halt. It perfectly captures the moment of an untimely death, with Hamilton pausing, reflecting on his life before the bullet lands. That stillness, that final moment of clarity—it’s haunting, and it hits so deep.

The final song, Who Lives, Who Dies, Who Tells Your Story, is truly the perfect closing note to this unforgettable musical. It beautifully ties everything together—Hamilton's legacy, the people who shaped it, and the woman who worked tirelessly to preserve it. Eliza takes center stage one last time, and in doing so, reclaims her voice. She becomes the storyteller, the historian, the heartbeat of Hamilton’s memory. As she sings about everything she accomplished after his death—founding an orphanage, speaking out against slavery, and telling his story—we see that her impact was just as powerful as his.

But what makes this song so heartbreaking and unforgettable is the very last moment. When Eliza dies and reunites with Hamilton, she lets out this breathless, almost shocked cry—some say it’s her seeing the audience, some say it’s her seeing heaven, or Hamilton again. Whatever it is, it gives you full-body chills. It’s raw and open and emotional. That final cry wraps the whole journey in one last gut-punch, a reminder that this was a love story, a war story, and most importantly, a human story. An absolutely breathtaking way to end the show.

My Connection

The first time I ever watched Hamilton was through a screen—and honestly? I laughed, I cried, and I felt everything just as deeply as I did when I saw it live. The show tells such a beautifully crafted story—bringing to life a historical figure that many people didn’t know much about until this musical came along. Would I watch it again? A million times over.

I love how they embraced the word musical so literally—there isn’t a single flat note, and every song is its own unique way of storytelling. Sometimes I feel like I have this unexplainable bond with Eliza; something about her character really sticks with me. Now, my friends know me for my love of musicals—especially Hamilton. It’s full of songs I’ll never get tired of.  And honestly? When Spotify Wrapped rolls out and Hamilton dominates your top songs, that’s a badge of honor. 

This story may be long and complicated, but it’s one that’s deeply loved by so many—and for good reason.

I hope the readers are able to enjoy reading my blog post, as much as I was able to enjoy making it. 

And with that, the curtains fall. Until the next act–k’s curtain call.