By Barrett Holman Leak
SAN DIEGO — Whether you are a history buff, deeply into music, or a theatre fanatic, there is something for you in Hamilton, which opened on May 6 for a 12- day run at the San Diego Civic Theatre. By now, who does not know that this award-winning (11 Tony Awards, as well as Grammys, Oliver Awards, a Pulitzer Prize and a special citation from the Kennedy Center Honors) historical musical is a seismic event?
I have seen it live once before but little did I know that in tonight’s performance I would be prompted to realize its connection to counting the Omer and legacy.
From the moment the lights dim and that iconic opening riff hits, you are not only watching a play; you are strapped into a time machine hurtling through the tumultuous birth of America, all soundtracked by a revolutionary blend (see what I did there?) of hip-hop, jazz, R&B, and Broadway swagger that reminds me of the award-winning duo Outkast. The depth of Lin-Manuel Miranda’s lyrics is breathtaking – dense, witty, and emotionally charged, delivered with a rapid-fire precision that leaves you hanging on every syllable.
I think the words were a bit challenging to understand for those not accustomed to listening to the genre of fast-paced rap or hip-hop but throughout the evening, the audience was constantly bursting into thunderous applause.
The cast? Paul Louis Lessard, playing King George III absolutely stole the show. He commands the stage each time he steps onto it to pull the audience into one of his wildly delivered hilarious monologues as he dances across the stage. His petulant pronouncements while dancing with his scepter had me floored.
African American Jewish actor and singer Daveed Diggs originated the titular role on Broadway, and here in San Diego, it is Blaine Alden Krauss. The actor, delightfully embodying Alexander Hamilton, fully captures his relentless drive, his incandescent intellect, and yes, his very human flaws, with captivating intensity. Deonte Goodman, as Hamilton’s frenemy Aaron Burr simmers with a palpable ambition and growing resentment, in a performance that keeps you guessing and ultimately understanding his tragic trajectory.
Kendyl Sayuri Yokoyama, as Eliza Hamilton, anchors the emotional core of the story with grace and heartbreaking resilience, while Jisel Soleil Ayon portrays Angelica Schuyler’s wit and fierce loyalty with passion. George Washington’s commanding presence, performed by Kameron Richardson, provides a solid anchor in the story. Simon Longnight does double duty as both the Marquis de Lafayette and Thomas Jefferson, strutting with a charismatic, almost rock-star swagger.
The staging is a marvel of versatility, effortlessly transforming from bustling New York streets to hallowed halls of government to intimate domestic spaces. The lighting design is a character in itself, painting moods and guiding our focus with dramatic flair. The costume design was tastefully done, with the chorus pretty much in the neutral undergarments of the day while main characters wore much more colorful coats and other garb. I thought it made it easy to focus on the choreography and the singing.
More than just a historical retelling, Hamilton pulsates with contemporary relevance. This fast-paced masterpiece explores themes of ambition, love, and betrayal but what really stood out for me in this performance was the theme of living one’s life, creating your narrative and leaving a legacy.
On the surface, a hip-hop musical about an American Founding Father might seem worlds away from the Counting of the Omer (which we are doing now, on our way to Shavuot). However, when we delve into the underlying themes of both, some intriguing parallels emerge, especially concerning progress, reflection, and the anticipation of something significant.
Hamilton and the Counting of the Omer are each a journey of transformation and progress. The Counting of the Omer marks the 49-day period between Passover (commemorating liberation from slavery) and Shavuot (celebrating the giving of the Torah at Mount Sinai). It’s a journey of spiritual refinement, moving from freedom towards revelation. Each day, we acknowledge our progress (“Today is the Xth day of the Omer”).
Hamilton similarly chronicles a journey of transformation and progress. Alexander Hamilton arrives in America with nothing and, through ambition, intellect, and relentless effort, rises to become a key figure in shaping the nation. The musical depicts his ascent, his achievements, and ultimately, his impact. Just as the Omer marks daily spiritual growth, Hamilton portrays a life marked by constant striving and forward movement.
Both are about reflection and self-assessment. Hamilton doesn’t shy away from his flaws, prompting us to consider the complexities of human nature and the impact of individual choices. In this way, watching Hamilton can be a form of reflection on ambition, legacy, and the human condition, much like the self-examination encouraged during the Omer.
Both Hamilton and the counting of the Omer are building towards a significant event. Just as the Omer counts towards the giving of the Torah, Hamilton charts the course towards the shaping of a nation.
Both are enveloped in themes of freedom and responsibility, as well as purpose and legacy: The Counting of the Omer leads to the reception of the Torah, which provides a framework for a meaningful life and a lasting legacy for the Jewish people. Hamilton is deeply concerned with the question of legacy — as the final song “Who Lives, Who Dies, Who Tells Your Story?” asks us to consider. What mark are you leaving on the world and how will you be remembered? We, the Jewish community in San Diego and in the United States of America as well as in Israel, have a role in that legacy through our actions and words.
Individually, Hamilton and the counting of the Omer invite each of us to consider the passage of time, the impact of our actions, and the meaning we derive from the processes of growth and change. In a way, just as we count each day of the Omer with intention, Hamilton compels us to pay attention to the unfolding of a life and the shaping of history with a similar sense of purpose.
There are still tickets available for most performances, so be sure to check out the San Diego Civic Theatre.
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Barrett Holman Leak is a freelance writer based in San Diego.