Fox Theatre, Atlanta, GA.
September 3, 2026.
Who tells your story? That’s the question that has lingered in my mind after seeing Hamilton, presented by Regions Bank Broadway in Atlanta, at the Fox Theatre last night. I confess, as someone who has always gravitated toward the classics, that when Hamilton first rose to popularity, I couldn’t quite understand the hype. But after experiencing the powerhouse show firsthand – and feeling the electric energy of a crowd filled with both longtime enthusiasts and first-time viewers – I found myself understanding exactly why it has become the cultural phenomenon it is today.
If the stage is a canvas, Hamilton paints a masterpiece from top to bottom. Every creative decision feels intentional, and the cast’s execution is superb. While Tyler Fauntleroy commands the stage as Hamilton, the design of the show gives ample room for every cast member to shine. Scenes weave seamlessly together, shifting from character to character, while the dancers are the thread that ties everything together. The poetry of the music is only magnified by the poetry in motion of the dancers.
Unlike musicals that move back and forth between songs and dialogue, Hamilton tells its story almost entirely through music, with the songs carrying the narrative from beginning to end. Every cast member handled the demanding lyrics with remarkable precision. As a dancer who tends to hyper-focus on the stamina of dancers, I was equally impressed by the stamina of the actors. The choice to root the musical in hip-hop, with splashes of soul and jazz, gives Hamilton a refreshing and accessible lens for the modern musical theatergoer – perhaps the perfect entry point for someone who has never set foot inside a theater before.
Within that musical framework, the dancers become the final piece in the puzzle. Rather than centering traditional Broadway ensemble numbers, the dancers often work more subtly, enhancing the scenes around them. Act II’s opening number, “What’d I Miss,” and the showstopping “The Room Where It Happens” are notable exceptions, incorporating nods to Fosse and swing dance. Frequently dressed in neutral costumes, they don’t demand attention so much as make each scene feel fuller, more dynamic and more alive simply by being onstage. Not only does Andy Blankenbuehler’s Tony Award-winning choreography showcase the versatility and stamina of the dancers, but it also demonstrates how crucial they are to the progression of the story. The dancers constantly provide characters with props, move small set pieces around and navigate the frequently used turntable with remarkable precision.
Deon’te Goodman’s Aaron Burr offered the perfect contrast to Fauntleroy’s Hamilton. Their onstage banter, complete with Fauntleroy’s repeated “Burr, sir” delivered with increasing disgust, created just the right amount of tension leading up to the final moments of the show. Burr’s more measured leadership style was beautifully supported by the choreographic decisions in “Wait for It.” In a song driven by a strong beat and soaring melody, I found myself waiting for the dancers to jump up and enhance the scene. And yet, they remained seated. It was a brilliant choreographic decision, allowing the focus to remain on Burr’s internal battle while reflecting his more polished exterior. The contrast is striking when compared with “Yorktown,” Hamilton’s first opportunity to lead a battle. Here, the dancers fully fill the stage with powerful movement, feeding into the grandeur of Hamilton’s larger-than-life presence.
Having never seen Hamilton before, I wasn’t sure what to expect from its ending. I love a musical that makes me think, and the final ten minutes have stayed with me long after the curtain call. The climactic choreographic sequence was breathtaking, serving as a powerful reminder of just how integral the dancers are to the story. Amanda Simone Lee, performing as standby Eliza, further underscored the emotional weight of those final moments with a compelling portrayal of a woman who loved deeply, endured heartbreak and ultimately found forgiveness for her larger-than-life husband.
And still, I find myself pondering the magnitude of stories – our own life stories. When our lives are over, what will people say? In Hamilton’s case, his story has been given a remarkable second life through a beloved musical, leaving audiences around the world to ponder the same question: Who tells your story?
Hamilton runs at Atlanta’s Fox Theatre through September 20. To find tour dates near you, visit hamiltonmusical.com.
By Melody McTier Thomason of Dance Informa.
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