Hamilton: from Stage to Screen
Hamilton: from Stage to ScreI saw Hamilton four years ago in Chicago and I loved it. I was genuinely impressed by the performances, the dancing, and the music. But when I watched the ‘Hamilfilm,’ I cried for the entire two hours and forty minutes. The way it was transformed into a film added a whole other emotional layer onto the musical.
The director, Thomas Kail, filmed three stage performances of Hamilton. Two of the performances had audiences, and the third was filmed without an audience in order to reach those close up shots.
The camera glides effortlessly across the stage throughout the performance - never seeming like it’s in the way. Additionally, there are a mixture of shots used to convey the story. From close-ups, to medium shots, to wide shots, these methods were combined to add extra elements with the effect of elevating the musical.
Hamilton has multiple full ensemble numbers in which there is a lot of movement going on. One of the aspects I enjoy the most is that the set changes are part of the performances. Usually, the cast sings a song, the lights go to black, we clap, and there is a set change. In Hamilton, I counted that happening only twice, and even then the stage wasn’t completely black. Therefore, the placing and taking away of props became part of the story and movements. The director knew that the dancing told a story along with the lyrics, and this needed to be shown.
The talents of the ensemble and main cast were showcased throughout the entire musical. Most of the performances required most, if not the entirety of the cast. The director did an excellent job with camera angles during these numbers. He kept the focus on whoever was singing the song while still making sure the background characters stayed relevant and seen. An excellent example of this was during “Satisfied”. This performance is impressive on its own without being filmed, but Kail intensified it further with his quick shots. He maintained the focus on the character singing, Angelica Schuyler, while showing the viewer the madness that was going on around her. “Satisfied” is the choreography of the previous song “Helpless”, but backwards, and through the perspective of Angelica. The number is crazy on its own. Moreover, Kail’s use of closeup shots intercut between wide shots and sweeps allows us to clearly see Angelica’s facial expressions, which reveals explicitly how she feels about her sister, Eliza, marrying Alexander Hamilton.
The director also used an upstage shot to symbolize power. The only time we saw the stage from the actors’ perspective was when George Washington entered the space and when King George strutted onto the stage. This camera angle showed us they weren’t like other characters. They demanded respect and their presence was made known. Additionally, the overhead shot during the beginning of “The Ten Duel Commandments” showed us the importance of that song; the director wanted to show us how the battle is set up so we can tell when another duel is coming. That way, the rules and choreography don’t need to be explained again.
One of the best parts of the musical/film is the utilization of props in the dance numbers. Since Hamilton is operatic, meaning the entire musical is sung, there are no black outs between scenes. The set must be changed while the characters are singing and dancing, which makes the musical more visually appealing and all the more impressive.
I appreciated that in theatre style, an intermission was kept into the film. This musical has a lot of time jumps, so the division between the two acts allows the audience to regroup and recollect. Especially when the actors who played Peggy, Laurens, Mulligan, and Lafayette in the first half are playing completely new characters in the second half.
A legendary musical number is titled “The Room Where It Happened”. Like in “Satisfied”, there is a lot happening but the focus remains on Burr. During the performance, the viewer can see Burr becoming crazier. It’s hard to tell from your seats if you’re watching it in a theater, but the film captures Burr’s facial expressions growing in intensity and his movements getting sharper. Not to mention the intensity that increases in his voice as the song moves along.
“Washington On Your Side” shows the talents of Daveed Diggs, Leslie Odom Jr., and Okieriete Onaodowan. There are no props or ensemble actors in this musical number. It’s strictly the three men showing off their skills and it's one of the best songs in the entire film. The actors utilize the entire stage during this performance, which makes it easy on the director. Kail didn’t favor one character and gave each of them their moments in the spotlight, while also illustrating the new partnership that was forming between Madison, Jefferson, and Burr.
Something that you might struggle to see as an audience member sitting in a theater is the intention of the choreography. During Burr and Hamilton’s duel, Hamilton goes into a speech before he is shot. Burr shoots and time stands still. Towards the end of his monologue, Eliza steps between Burr and Hamilton. The camera shows us Hamilton’s eyeline, and when Eliza walks away, we see right down the barrel of Burr’s gun. This shot illustrates the finality of the circumstance and that Hamilton made the choice to fight rather than stay safe with his family.
Additionally, in another moment King George steals the show. The character is only on stage for about nine minutes but he holds one of the most memorable parts in the show. Jonathan Groff took the role and ran with it. That brings me to how talented the cast is. Their performances seem effortless yet there are very few people capable of exhibiting that type of talent. I could go on and on about how each actor dived into their characters and convinced me that they are really those historical figures. Also, the breath control these singers have is unmatched - it makes it near impossible to sing along to every song in the car.
Some of my favorite moments (emphasis on the some):
In “Right Hand Man”, when the entire cast passes around a letter but the focus stays on General Washington as he’s singing. The director made sure to show the letter going from hand to hand but continued to keep Washington in the spotlight.
During “One Last Time”, Lin-Manuel Miranda breaks character for a brief moment and stares at Chris Jackson with pride as he sings. You can tell it's Lin and not his character, Alexander Hamilton, because he quickly refocuses and changes his facial expression. This is probably my favorite song of the film.
I appreciated that the laughter of the audience was kept in the film. It would be pretty awkward if there was no laughing at the jokes in the dialogue.