‘Hamilton’ at the Fisher Theatre: Still Not Throwing Away Its Shot
There’s a certain kind of skepticism that creeps in when you’ve seen a show a few dozen times. You start to wonder if the magic will dull, if the beats will feel predictable, if the emotional gut-punches will land softer simply because you know they’re coming. Walking into Hamilton at the Fisher Theatre, I had that thought lingering in the back of my mind.
It lasted about thirty seconds.
From the moment the ensemble stepped into that opening tableau and the first notes hit, it was clear: Hamilton isn’t just a show you watch. It’s a machine. And when it’s firing on all cylinders, like it is on this national tour stop, it doesn’t matter how many times you’ve seen it. It still grabs you by the collar and pulls you in.
[Warning: spoilers from Hamilton are below!]
Hamilton is a show built on movement
Let’s start with what continues to make Hamilton feel alive: the choreography.
What Andy Blankenbuehler created isn’t just dance, it’s storytelling in constant motion. Every step, every turn, every ripple through the ensemble serves a purpose. And on tour, where you might expect things to feel slightly scaled or softened, that precision is still razor sharp. The turntable remains one of the most effective pieces of staging in modern musical theatre, not because it’s flashy, but because it integrates so seamlessly with the movement. Characters circle each other, literally and metaphorically. Conflict is staged in motion. Time itself feels like it’s spinning forward, whether the characters are ready or not.
Numbers like “My Shot” and “Yorktown” are still masterclasses in controlled chaos. The ensemble moves like a living organism, shifting from soldiers to citizens to shadows of history without ever breaking the rhythm. And “The Room Where It Happens” remains one of the most kinetically satisfying sequences ever put on a Broadway stage. The choreography doesn’t just support the number; it is the tension. Even after dozens of viewings, I found myself watching the ensemble just as much as the principals. That’s the mark of choreography that isn’t decorative, it’s essential.
Lighting that does the heavy lifting
If choreography is the heartbeat of Hamilton, the lighting is its emotional pulse. The design works in tandem with the movement to guide your eye and, more importantly, your feelings. Warm ambers and golds give the show its historical grounding, but it’s the sharper contrasts that do the real work. Sudden isolations, tight spotlights, and shadow-heavy moments carve out intimacy in a show that otherwise feels massive.
“Burn” is a perfect example. The world shrinks. The chaos drops away. What’s left is a woman, a letter, and a lighting design that knows exactly when to pull back and when to close in. It’s not flashy. It’s intentional. And then there’s “Yorktown,” where the lighting expands in scale to match the urgency of the moment. Quick shifts, bold angles, and heightened intensity turn the stage into a battlefield without ever needing literal realism. It’s theatrical in the best way. Suggestive, not literal. Emotional, not technical. What’s remarkable is how consistent the design remains on tour. There’s no sense of compromise. The cues are tight, the transitions are seamless, and the storytelling remains just as sharp as any Broadway production.
Principals who know exactly what they’re doing
Let’s talk about Matt Bittner.
King George is one of those roles that can easily become a caricature if pushed too far, or fall flat if underplayed. Bittner threads that needle beautifully. His performance is controlled, calculated, and just self-aware enough to make the comedy land without ever feeling forced. From the moment he steps on stage, the audience is his. There’s a stillness to his physicality that contrasts perfectly with the chaos of the rest of the show. While everyone else is in constant motion, he plants himself and lets the absurdity come to him. Vocally, he’s crisp and precise, delivering each line with a clarity that cuts through the room. But it’s the subtle choices that elevate the performance. A slight pause. A raised eyebrow. A knowing glance. It’s not just funny, it’s smart. And perhaps most importantly, he doesn’t overstay his welcome. Each appearance is tight and effective, leaving the audience wanting just a little more. Exactly as it should be.
Then there’s Lily Soto, whose Eliza is nothing short of a standout.
Eliza is the emotional spine of Hamilton, and it’s a role that demands both restraint and power. Soto understands that balance deeply. Her performance builds. It doesn’t peak too early, and it doesn’t rely on a single moment to define it. “That Would Be Enough” is gentle and grounded, giving us an Eliza who feels real and present from the start. But it’s in the second act where Soto truly shines. “Burn” is devastating. Not because it’s loud or overly dramatic, but because it’s controlled. There’s a quiet intensity in her delivery that makes the moment feel deeply personal. You’re not watching a performance. You’re watching someone process betrayal in real time. And then, of course, there’s the final moment. Even after seeing it countless times, the ending still hits. And Soto earns it. The final beat, that inhale, that realization, whatever you interpret it to be, feels fully lived-in. It’s not played for effect. It just is.
Final verdict on the Hamilton national tour
After a few dozen viewings, I can confidently say this: Hamilton hasn’t lost its edge. Is it as shocking as it was the first time? No. Nothing ever is. But that’s not what keeps it relevant. What keeps it relevant is the craftsmanship. The choreography that never stops telling the story. The lighting that knows exactly how to make you feel. Performances that continue to find nuance in familiar material.
If you’ve never seen it, this is the version to catch. If you’ve seen it once, it’s worth seeing again. And if you’re like me and have seen it more times than you can count, well… you already know.
Some shows fade.
Hamilton just keeps moving.
Hamilton closes at the Fisher Theatre on May 17th, so get your tickets now before it’s gone! Have you seen this production yet? What did you think? Share your thoughts on social media and tag @bsb.insider to keep the conversation going!
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