REVIEW: Hamilton at Sunderland Empire

Hamilton 

Sunderland Empire

Until Saturday 26 July 2025

There are moments in theatre when you can feel history being made as a show is in town that people are going to be talking about for a long time. As Hamilton opens at the Sunderland Empire for its long-awaited North East debut, the energy is electric, helped in a lot of ways by the the way the theatre has been totally decked out for the show. This is more than just a touring musical; it's a cultural phenomenon arriving on our doorstep, and the excitement in the auditorium confirms that local audiences have been waiting for this moment. 

Casey Al-Shaqsy as Eliza Hamilton and Marley Fenton as Alexander Hamilton.
Photo Danny Kaan

I'll be honest, I wasn't expecting the arrival of the King to be matched with the cheers that he got. The Friday night audience were, very much, up for it and they went from listening intently to the marvellous performances to spontaneous applause when it was merited. 

Casey Al-Shaqsy as Eliza Hamilton.
Photo Danny Kaan

First staged off-Broadway in 2015 before transferring swiftly to Broadway, Hamilton was created by Lin-Manuel Miranda, who also starred in the original production. Inspired by Ron Chernow’s biography of Alexander Hamilton, one of America's Founding Fathers, the musical blends hip-hop, R&B, jazz, and traditional show tunes in a groundbreaking fusion that redefined modern theatre.  Whilst the score is modern, as my companion noted, the show's structure would not be amiss in a classic opera. Miranda’s bold approach, casting actors of colour in the roles of the white historical figures, challenged conventions and opened new conversations about representation on stage.

Akmed Junior Khemalai (George Washington) and Company.
Photo Danny Kaan

This show arrives on Wearside with a reputation. After all, the accolades came quickly and in abundance. Hamilton garnered a record-setting 16 Tony Award nominations and walked away with 11 wins, including Best Musical. It also secured the Pulitzer Prize for Drama in 2016 and received both Grammy and Olivier Awards. This unprecedented level of recognition is matched only by its enduring popularity—fans worldwide have embraced the soundtrack, with songs like My Shot, The Room Where It Happens, and Satisfied becoming cultural touchstones. The cast recording has achieved multi-platinum status, and the filmed stage production on Disney+ brought Hamilton to an even broader global audience. Having said that... I have to confess I had not seen or heard the show before in any format so I was arriving with a fresh insight.

Billy Nevers (Aaron Burr) and Company.
Photo by Danny Kaan

At its core, Hamilton is the story of clear naked ambition, legacy, and revolution. It follows Alexander Hamilton’s rise from an orphaned immigrant to George Washington’s right-hand man and the first U.S. Secretary of the Treasury. Set against the backdrop of the American Revolution, the musical explores timeless themes: the price of greatness, the power of storytelling, and the struggle to shape one’s destiny. The show’s modern score and diverse casting breathe fresh life into these historical events, making them immediate and relevant, particularly for audiences reflecting on the narratives that have long dominated traditional history books. Of course it is easy to draw modern parallel's with the current affairs in the United States but I'll leave that for you, dear reader.

Billy Nevers (Aaron Burr) Roshani Abbey, Chasity Crisp
and Naomi Katiyo (Schuyler Sisters).
Photo by Danny Kaan

This touring cast of Hamilton delivers a sublime performance that breathes fresh energy into this already iconic musical. Marley Fenton brings a magnetic presence to the role of Alexander Hamilton, masterfully balancing the character’s ambition, vulnerability, and relentless drive. His performance is particularly striking in My Shot, where his vocal power and physical commitment electrify the stage and set the tone for the evening. Opposite him, Billy Nevers is a revelation as Aaron Burr. His nuanced delivery of Wait For It is a standout moment, capturing the simmering tension and internal conflict that makes Burr such a complex figure. Nevers’ control and emotional depth draw the audience into Burr’s world with effortless charisma. 

Louis Maskell (King George).
Photo by Danny Kaan

The Schuyler sisters are another highlight, with Casey Al-Shaqsy making a poised and emotionally resonant Eliza Hamilton. Her rendition of Burn is quietly devastating, delivering heartbreak with sincerity and grace. Chasity Crisp commands the stage as Angelica Schuyler, bringing sharp wit and fierce intelligence to Satisfied, a number that is impeccably choreographed to showcase the storytelling’s clever rewind structure. Naomi Katiyo provides both sweet innocence and seductive flair in her dual roles as Peggy Schuyler and Maria Reynolds, contributing beautifully to the layered narrative. Together, their harmonies and chemistry provide some of the show's most stirring moments.

Marley Fenton (Alexander Hamilton) and Billy Nevers (Aaron Burr).
Photo by Danny Kaan

Director Thomas Kail’s original vision remains thrillingly intact in this production, with Andy Blankenbuehler’s choreography executed to a razor-sharp precision by the ensemble. The company’s seamless movement across the revolving stage elevates numbers like Yorktown (The World Turned Upside Down) to breathtaking heights, while the battle scenes pulse with urgency and cohesion. Ashley J. Daniels brings infectious swagger and charisma to Lafayette and Jefferson, delivering What’d I Miss with playful flair and boundless energy. 

Marley Fenton (Alexander Hamilton) and Company.
Photo by Danny Kaan

I have already mentioned the audiences reactions to the arrival of the King which, as a newcomer to the show, I wasn't expecting. Anyhow, Louis Maskell’s hilarious turn as King George is memorable, offering a perfectly timed dose of comic relief. From Shak Mancel James’ spirited performances as John Laurens and Philip Hamilton to KM Drew Boateng’s commanding Hercules Mulligan and Akmed Junior Khemalai’s stately George Washington, every performer contributes to a dynamic, tightly woven production that continues to prove why Hamilton is a theatrical phenomenon.

It is difficult to convey how well the movement of stage is arranged. The floor of the stage has two circular moving circles that can go in either direction and the large cast, and their props, are always in the perfect position. It is not just traditional dancing/choreography - it is so much more - such as the setting up of a duel. It is so flawless that it looks too easy... but it clearly isn't. The cast, with their multiple costume changes and the crew off stage that have many props ready just in time are clearly working extremely hard to pull of a show that runs so smoothly from the audiences perspective.

Another aspect that is easy to take for granted is both the lighting and sound. Perhaps the early singing was quiet - but then it had the dynamic range to crank it up during the war scenes. This is a sung through show with many voices and each has its space in the mix. I say this as it is often done badly as show rush around the country. Likewise - I cannot imagine how long it took to set up the lighting. These are parts of the show one tends to not notice when they're done so well.

Roshani Abbey (Eliza Hamilton) and Marley Fenton (Alexander Hamilton).
Photo by Danny Kaan

Hamilton is an interesting show to see for the first time. I enjoyed it. A lot. There's a lot going on pretty much all of the time. I have a feeling that I'm going to probably enjoy it more on a second or a third time as the complex nature of the production reveals more that I missed first time.

So there you have it. A show that lives up to the hype and expectation. A show that make one fully appreciate having some fabulous theatres in the North East that can handle direct transfers from the West End/Broadway. Marvellous!

Review: 

Stephen Oliver

Tickets:

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Tickets are available from ATG Tickets: https://tinyurl.com/HamiltonSunderlandTix