Holiday bargains: 'Hamilton' for $200-plus, 'Elf' for $20-plus

When it comes to holiday theater in Northeast Ohio, the Yuletide spirit can be had for under $20 and over $200. 'Hamilton' Upon its long-awaited return engagement (delayed from COVID-19 theater hiatus), it becomes clearer than ever: Super Broadway hits on the scale of "Hamilton" cease to be a show to discover and become a status symbol to "have seen." Costing more than $200 for a top seat, "Hamilton" is a status symbol to have paid for. So by the time "Hamilton" landed a second time in Cleveland's Playhouse Square, the matter of a review may seem moot. But, for the record, "Hamilton," running through Jan. 15 at the KeyBank State Theatre, is wonderful. Contrary to so many enthusiastic critics, it is not actually a game-changer, however. Lin-Manuel Miranda — original star, composer, lyricist and librettist — introduced the musical genres of hip-hop and rap into the lexicon of Broadway music more than a decade ago with his "In the Heights." The earlier show's Hispanic American characters would of course express themselves in such contemporary street-smart music. Likewise, historical icons in Broadway shows have burst into contemporary musical idioms from jazz to hard rock. ("Jesus Christ, Superstar" coming to mind.) But "Hamilton," as an operatic-styled historical narrative, based on Ron Chernow's 2004 biography about America's most unlikely founding father Alexander Hamilton, with genuine ethnic pedigree, makes for a compelling three hours of theater, groundbreaking or not. Hamilton, an immigrant from the West Indies, became George Washington's right-hand man during the Revolutionary War and was the new nation's first treasury secretary — a man whom Miranda musically describes as an " … orphan, son of a whore / And a Scotsman, dropped in the middle of a forgotten spot / In the Caribbean by providence …" — a true minority American. It really must be pointed out that what elevates "Hamilton" from merely a concert evening of clever hip-hop is the direction of Thomas Kail and choreography by Andy Blankenbuehler, who move the proceedings as an unrelenting, continual climax. The show could have easily turned either stagnant or overbearing in lesser hands, but the audience members gladly follow along on the edge of their seats, savoring the extra emotion provided by the musical direction and orchestrations by Alex Lacamoire. The set by David Korins is befittingly all-purpose brown columns, brick walls, rafters, scaffolding and wooden beams, centered by a stage turntable. It's so flexible, it could also be used for a production of "Les Miserables" or any number of Charles Dickens stage adaptations. As for this particular touring production, Pierre Jean Gonzalez, looking remarkable like Miranda in the title role, Jered Dixon as Hamilton's eventual nemesis Aaron Burr, Marcus Choi as George Washington (who repeats his performance from the original national tour that came through Playhouse Square), Nikisha Williams as Eliza Hamilton and Ta'rea Campbell as Angelica Schuyler (also here from the first Playhouse Square engagement) are multitalented powerhouses. Although they seemed unable (or perhaps discouraged) to put an individual stamp on their characters, they remain true to Manuel's minority-cast vision (holding up to various video excerpts from the original show). The only (apt) exception, which seems almost by providence, continues to be Neil Haskel as an unhinged King George, who bungles Britain's control of the American colonies. (Cleveland's own Rory O'Malley, who took over the role of King George in the original Broadway production, did the same for this tour starting Monday, Dec. 19.) Not only a bit outrageous in manner, Haskel's King George also gets to croon to a remarkably different tune. This is where Miranda shows his deft abilities to evoke other musical genres. In "Hamilton," of course, no one forgoes popular music idioms, but King George imparts his glib dismissal of America in the hilarious style of a British pop star, like a renegade from Herman's Hermits: "When you're gone, I'll go mad / So don't throw away this thing we had/ 'Cause when push comes to shove / I will kill your friends and family to remind you of my love / Da da da dat da dat da da da da ya da …" The song is called "You'll Be Back," and indeed we came back and no doubt will again — hopefully for a local production with less-expensive and more available tickets. 'Elf: The Musical' Speaking of orphans, "Elf: The Musical," based on the hit film comedy starring former "Saturday Night Live" star Will Ferrell as a wayward and way-overgrown orphan raised to be one of Santa's elves, is a lot better than it needs to be. And that's even more apparent — and much more affordable — in the return engagement at the Beck Center for the Arts. "Elf" may be the big alternate musical to catch for the holiday season. It's no surprise that Beck Center has proved itself capable of mounting major musicals as elaborate as nearly anything touring on Playhouse Square. But Beck offers so many special surprises in addition to its high production values. The first surprise is Tim Allen in the title role. Displaying a powerful grasp of comedy and holiday fantasy, he manages to look innately elfin despite a larger-than-life stature. He leads a top-notch cast who seem equally at home in New York or the North Pole — singing, belting and dancing Lauren Tidmore's festive showbiz-y choreography every step of the way. Having first opened on Broadway in 2010 for a seasonal holiday run, the musical has been a holiday staple on tour and in regional theaters ever since. But unlike so much seasonal fluff, "Elf" carries substantial Broadway weight to it — from Bob Martin and Thomas Meehan's stage adaptation of the hit 2003 comedy about the human elf finding his long-lost dad in the chaotic world of Manhattan, to the infectious classic-style Broadway score by Chad Beguelin (lyrics) to Matthew Sklar (music), effusively conducted here by Beck Center's dependable musical director Larry Goodpaster. The biggest Christmas surprise at the Beck Center is the dazzlingly ingenious visual design, shared by no less than three artists — overall scenic designer Adam Rowe (with Emmy-winning television pedigree), projection designer Brittany Merenda and lighting designer Steve Shack. Featuring an array of animated projections adorning and energizing a series of arches that frame a backdrop of settings — Santa's workshop, Macy's, Central Park, a swank high-rise condo, an office in the Empire State Building and a Chinese restaurant (for one of the best second-act opening production numbers ever) — the stage turns out to be the biggest star of the evening. Not that everything else — cast, crew, music and script — aren't starring assets in their own right. Contact Howard Gollop at howieeg@hotmail.com IF YOU GOWHAT: "Hamilton"WHEN: Through Jan. 15 (times vary)WHERE: KeyBank State Theatre, 1519 Euclid Ave., ClevelandTICKETS: $39 to $229 INFO: (216) 241-6000 or PlayhouseSquare.org IF YOU GOWHAT: "Elf: The Musical"WHEN: Through Dec. 30 (times vary)WHERE: Senney Theater, Beck Center for the Arts, 17801 Detroit Ave, LakewoodTICKETS: $12 to $38INFO: (216) 521-2540 or BeckCenter.org