After nearly a year of waiting Hamilton has  finally arrived and is playing at Bradford’s Alhambra Theatre until mid-March.

Declared by many of the audiences that have seen it so far as ‘the best musical they have ever seen’ and ‘the best musical ever’ I wonder just how many musicals they have seen and how qualified they are to say ‘the best musical ever’.

True Hamilton is one of the best of the last decade but laying the theatre musical bare there have been ones in the past just as worthy of that title.

The large tours pre war of musicals that boasted 100 in the chorus and sets and costumes that one could only dream about today, the Novello,  Sigmund Romberg, Rodgers and Hammerstein, Lerner and Lowe plus more recently Lloyd Webber offerings have ranked in this upper class of musical. So audiences should often think before making such sweeping statements.

A show-biz friend, who spends a great deal of time in the states, once said of Hamilton that it was made for the American market – adding to their statement -rather like McDonalds!

America has not the plethora of history like other countries so its understandable that Hamilton – a testament to their history – for them is of prime importance.

Hamilton relates the life story of Alexander Hamilton the ‘ten-dollar Founding Father’ and is based on Ron Chernow’s biography of the him.

With music and lyrics by Lin-Manuel Miranda it follows Hamilton from his impoverished childhood in the West Indies through his rise to prominence in the American Revolution eventually becoming George Washington’s right hand man. He marries well, overcomes a sex scandal during his tumultuous political career and eventually dies after a duel with Aaron Burr the then Vice President.

The plot is rather complex but needs to be understood to get the maximum enjoyment from this epic which lasts for nearly three hours. That was where my many trips to the Eastern States of the US on my travel writing trips helped me make Hamilton an extremely rich historical experience – I really understood what was happening and the significance of the events.

Miranda has incorporated a blend of musical styles from hip-hop to jazz to Broadway musical numbers which at times blend beautifully into the story but other times are not integrated too well.

Director Thomas Kail has created a fast moving and energetic show and coupled with Andy Blankenbuehler’s choreography which borders on technical brilliance the results are superb.

But the jewel in the production’s crown is the set which leaves no part of the stage un-used or unworkable and uses the revolve to its best potential. David Harris’s set design for this tour is a triumph in every way – but it must be a nightmare on ‘get-in’ and ‘get out’ days for the crew.

Hamilton is a true ensemble piece where everyone is of prime importance and this is celebrated in the line-up finale

There is some great character acting, fabulous vocals both solo and ensemble combined with vigorous dance routines performed with technical and artistic perfection by the cast

Marley Fenton has captured just the right characterization in his portrayal of Alexander Hamilton. He underplays the man with a naïve but sincere ethos giving the role a mixture of visionary and a man whose most powerful weapon is his words.

But the show stopping performance comes from Billy Nevers as Aaron Burr. Burr is powerful in his vocals which are laced with emotion and determination especially in the number ‘The Room Where It Happens’ which is the outstanding number of the show. He acts as narrator and yet we see his strong determination to make sure he’s not forgotten in the country’s history.

Hamilton has been a long time coming on tour but it’s a befitting show to mark Bradford’s City of Culture Year – but if you get chance do read up on some American history as it adds so much to your enjoyment and understanding of the show.

Runs until 15^th March

Liz Coggins is a member of The Critics Circle