Hamilton has made it to Boston! There’re so many things that could be said of this show. There’s the fact that it got nominated for multiple Tony Awards and won Best Musical, Best Book of a Musical, and Best Original Score. It won the Grammy Award for Best Musical Theater Album and the Pulitzer Prize for Drama. There’s also the fact that it had been near impossible to get tickets for the Broadway show, and the cast recording was top of the charts.
At the heart, though, it’s a story about an immigrant and a new nation. 
The musical illustrates Hamilton’s arrival in America and follows big moments in his story all the way up to his death at the hands of Aaron Burr. This is all made more interesting due to the fact that the show is mostly narrated by Burr. It shows differing sides and possible views of history. 
The music and casting represent the melting pot that is our country as well. The songs that the Americans sing range in styles—from quick witted raps to intense ballads. Meanwhile, King George of England has a total of three songs that all follow the same old British pop sounding tune. People of all different races play the various characters in America, regardless of historical accuracy, as another way of illustrating the diversity in the country.
 The actors in the touring cast were wonderful. I was slightly unimpressed with the female casting choices (though Jennie Harney-Fleming really belted out during Say No To This), but they were still good nonetheless. 
 The part that really stood out to me was the actor playing Aaron Burr. I am a big fan of Leslie Odom Jr. (who played Burr in the original Broadway cast) and wasn’t sure if I’d have a hard time hearing someone else play the role. Nicholas Christopher, who had played the role of Washington previously in the Broadway cast of Hamilton, did something unexpected and exciting. He played the character incredibly different but equally amazing. While Odom brought seriousness and a reserved nature to Burr, Christopher brought a more comical and approachable manner. It was refreshing to watch and I felt glued to my seat during his shows of vocal talent in Wait For It and Room Where It Happens. 
 Room Where It Happens also stood out to me in a more general sense, due to the beautiful choreography and the way that the scenes seemed to flow together seamlessly. This was seen throughout the whole show. The usage of movable stairs, a rotating section of the stage, and variety of set pieces that seem to just appear on stage without one noticing… They manage to move the story onward without needing to make any big changes to the backdrop and still have it be interesting to look at. 
 As a warning, the show has virtually no talking. Almost all talking that takes place is in the form of rap – the musical gliding from song to song. I am not someone bothered by that, but I also wasn’t expecting it. 
 Overall, the production was (not surprisingly) very well done. Everything from lighting to costumes to staging and so on was thought through and fit together to weave Hamilton’s tale in a way that made it thrilling to watch. 
 Hamilton: An American Musical is being performed at the Boston Opera House until Nov. 18.