Daveed Diggs, Jonathan Groff and Leslie Odom Jr. in Hamilton (2020)

Daveed Diggs as Marquis de Lafayette and Thomas Jefferson (Hamilton, 2020)

Diggs takes on the dual roles of Marquis de Lafayette and Thomas Jefferson with a rare combination of technical agility, comedic flair and boundless charisma. Lafayette, a lesser character relative to Jefferson, is Diggs’ warm-up act in the first half of the musical, yet he leaves an indelible mark. From the moment Lafayette enters, Diggs’ characterization is undeniably bold. His French accent is flamboyantly exaggerated, bordering on the absurd, yet it remains perfectly suited to the heightened, somewhat caricatured take on the historical figure(s) that Hamilton offers. His accent, paired with his distinctly animated movements, frames Lafayette as a sort of “outsider-insider” in the American Revolution. Diggs’ delivery lands as both a humorous jab, a bit of dry wit that distinguishes him among Hamilton’s companions.

Lafayette’s shining moment comes in the blisteringly rapid “Guns and Ships”, where Diggs’ remarkable performing abilities are on full display. Here, Diggs handles the linguistic acrobatics with a fluidity that seems almost effortless, delivering some of the musical’s fastest verses with clarity and energy that stirs the entire cast and audience alike. His performance in this sequence is a masterclass in control and momentum, capturing Lafayette’s drive and enthusiasm for the revolutionary cause. Diggs imbues this scene with a palpable vigor that mirrors Lafayette’s historical commitment, effectively blending humor and heroism, while leaving the audience perplexed by how much energy Diggs as a performer possesses. Despite limited stage/screen time in Act One, Diggs’ Lafayette creates a memorable impression, planting the seeds for his larger, more theatrical portrayal of Jefferson in the second act.

The transformation Diggs undergoes as he shifts from Lafayette to Thomas Jefferson is where his performance truly shines. Jefferson, as envisioned by Lin-Manuel Miranda and embodied by Diggs, is flamboyant, mischievous, and unabashedly self-satisfied- a stark contrast to Lafayette’s earnest idealism. From his first entrance, striding onto the stage in a garish purple suit and engaging the audience with the buoyant number “What’d I Miss,” Diggs establishes Jefferson as a character who revels in his own celebrity. Jefferson, in Diggs’s hands, is the kind of historical figure who commands attention not through dogged ambition but with an effortless confidence that seems to suggest he’s the center of the cause, the continent and the world. Diggs’ physicality is equally revelatory; he slouches, struts, almost dances his way across the stage, every gesture exuding the kind of charm that makes Jefferson both infuriating and irresistible.

In the “Cabinet Battle” sequences, Diggs’s Jefferson is the perfect foil to Hamilton. Where Hamilton is intense, driven and perpetually on the edge of a breakdown, Diggs’ Jefferson is laid-back, witty and nearly indifferent to Hamilton’s fervor. Diggs’ mastery of rhythm and Miranda’s of wordplay shines as he counters Hamilton’s arguments with a languid, almost dismissive ease, further underscoring Jefferson’s air of superiority. What’s fascinating here is Diggs’ ability to subtly shift his rapping style from Lafayette’s frenetic urgency to Jefferson’s leisurely confidence; it’s a nuanced differentiation that showcases his versatility. In these scenes, Diggs also excels at what might be called “passive-aggressive” (re)acting. His micro-reactions during Hamilton’s speeches- an eye roll here, a knowing smirk there- add layers of comedy and disdain, allowing Diggs to steal the spotlight even when he’s not speaking; becoming the center of our attention he so desperately desires.

Beyond his comedic timing, Diggs demonstrates a remarkable ability to bring depth to a character who, in lesser hands, might come across as merely a caricature. In moments of political tension, such as his disagreements with Hamilton over the French Revolution, Diggs injects a shade of genuine conviction into Jefferson’s character. While Jefferson is largely played for laughs, Diggs makes it clear that this man has beliefs, even if they often come second to his personal pride (as Hamilton himself points out, “Jefferson has beliefs. Burr has none“). His interactions with Burr in the later parts of the musical are a further testament to Diggs’ skill; his Jefferson is an opportunist, unafraid to adapt his alliances, yet Diggs ensures that the character remains entertaining rather than slimy- which is a truly remarkable achievement that Diggs keeps throughout his characterization.

In Jefferson’s final scenes, particularly the moment where he watches Hamilton fall from grace, Diggs hits a perfect note of schadenfreude. His jubilant “Never gonna be president now” is delivered with an almost childlike glee, dancing as he revels in Hamilton’s misfortune. Yet, what makes Diggs’ Jefferson so compelling is that he never becomes purely villainous; there’s a charm and a playful quality to his performance that keeps him likable, even when he’s at his most conniving. Diggs’ performance is a comedic masterclass that balances broad strokes with carefully crafted details, making Jefferson an unforgettable presence in the musical.

The Best Acting Moment: “Never gonna be president now“

Verdict: 5

Jonathan Groff as King George III (Hamilton, 2020)

Jonathan Groff’s portrayal of King George III is a textbook example of how to make a small role unforgettable. King George appears only in brief intervals (three times for a span of roughly nine minutes), yet Groff transforms these moments into some of the musical’s most memorable scenes, combining regal composure with an undercurrent of near-psychotic fervor. From his first entrance, with his meticulously controlled gait and exaggeratedly posh diction, Groff crafts a version of George that is simultaneously hilarious and subtly menacing. His performance is a brilliant parody of the “mad king” stereotype, channeling elements of historical accounts of George’s instability into a portrayal that feels fresh, vibrant and utterly his own.

Groff’s physicality is a crucial element of his performance. Every step, every gesture, and even the way he wields his royal scepter exudes an exaggerated sense of human(e)less regality. Groff’s facial expressions are equally masterful, particularly his use of a deadpan pout that communicates both arrogance and petulance. His vocal delivery is flawless; Groff has a naturally powerful voice, but it’s the control of his tonality that truly impresses (e.g. his enunciation of phrases like “da da da da” is comically overemphasized, making these nonsensical syllables feel like royal decrees). In “You’ll Be Back” he shifts seamlessly between sardonic sweetness and barely contained rage, creating an unsettlingly affectionate (delusionally passive-aggressive) tone that underscores the King’s derangement. Groff’s performance is laced with an undercurrent of danger and his unsettling smile gives the impression of a man who would happily crush a rebellion without a second thought.

One of the performance’s standout features is Groff’s impeccable comic timing. His facial expressions and pauses are perfectly timed to amplify the absurdity of his character, yet Groff never lets King George become a complete buffoon. Instead, he maintains an air of menace throughout, hinting at the brutality that lurks beneath the surface of his seemingly jovially mad persona. In these moments, Groff captures the absurdity of a king out of touch with reality, while simultaneously hinting at the cruelty that defines his rule (and maybe his entire being).

The spitting that Groff so inadvertently performs during his songs adds an element of unpredictability to his portrayal. Groff’s spitting during his more intense moments adds to the impression of a mad king who has lost control. The audience’s reaction to this physical outburst only serves to heighten the comedy, yet Groff’s commitment to the character ensures that it feels organic rather than gimmicky. This physicality, combined with his piercing, unblinking gaze and unnerving smiles, creates a portrayal that is equal parts comedy and nightmare.

In his later appearances, particularly when he learns of John Adams becoming the new President, Groff reaches new comic heights. His gleeful reaction to Adams’s appointment is laced with sadism and merriment, a mixture of disbelief and heartless joy that underscores the pettiness of his character. This brief scene (like all of them) encapsulates Groff’s mastery over this role; with just a few lines, he conveys George’s profound sense of entitlement and his total inability to understand or accept the colonies’ rebellion, while slowly losing the last fragments of his mind. His performance serves as a sharp satirical take on the monarch, and his skillful blend of humor and threat makes each appearance a highlight and an absolute delight.

The Best Acting Moment: “You’ll Be Back” (specifically “I will kill your friends and family to remind you of my love”)

Verdict: 5

Leslie Odom Jr. as Aaron Burr (Hamilton, 2020)

Leslie Odom Jr.’s portrayal of Aaron Burr is the emotional anchor (together with Hamilton’s marital troubles) of the show, grounding the musical with a performance that is rich in nuance and complexity. From his first appearance, “I’m the damn fool that shot him”, Odom establishes Burr as both a twisted narrator and a tragic figure, a man whose ambition and caution ultimately lead to his undoing. Odom’s vocal prowess is immediately apparent; his voice has a rich, velvety quality that conveys both authority and vulnerability. His delivery is precise and measured, capturing Burr’s cautious nature and his lifelong struggle to reconcile his ambitions with his principles.

Burr’s journey from wary observer to active participant is where Odom’s performance truly shines. In the early scenes, Odom portrays Burr as a man on the sidelines, quietly watching Hamilton’s rise with a mixture of admiration and envy. His body language is restrained, his expressions guarded, yet Odom allows flashes of emotion to slip through, hinting at Burr’s underlying resentment. His voice is filled with a quiet determination that contrasts sharply with Hamilton’s impulsive energy, setting the stage for their eventual rivalry.

Odom’s portrayal of Burr’s gradual shift toward antagonism is masterfully subtle. As Hamilton’s success grows, Odom’s Burr becomes more visibly agitated, his polite facade giving way to frustration through painful smiling grimaces. In “The Room Where It Happens” Odom reaches a new level of intensity, his performance capturing Burr’s mounting desperation as he realizes that his cautious approach has left him on the outside. Odom’s dancing in this number is expressive, his movements mirroring Burr’s inner turmoil. By the song’s climax, Odom has transformed Burr from a passive character into a man driven by a burning desire for power, changing his “destiny”, setting up the tragic trajectory of the musical’s final act.

The culmination of Burr’s character arc in “The World Was Wide Enough” is where Odom delivers his most haunting moments. This is the moment where all of Burr’s choices- his lifelong adherence to caution, his envy of Hamilton’s boldness and his ultimate decision to act- crystallize with tragic consequence. Odom’s voice, usually smooth and controlled, takes on an edge of desperation as he narrates the fatal duel. His movements are measured but tense, mirroring Burr’s inner conflict as he grapples with the consequences of his decision. In his final, anguished line, “I was too young and blind to see”, Odom captures Burr’s regret with heartbreaking clarity. Here, Burr becomes not just Hamilton’s rival, but a fully realized tragic hero on his own- one who is painfully aware of his missteps only when it’s too late to change course.

Odom’s performance is a musical masterclass in restraint and emotion, leaving the audience with a lingering sense of sorrow, empathy and pity for Burr. By the end, he is no longer the “villain” of Hamilton’s story but a deeply flawed, human figure whose ambition and insecurities led him down a dark path. Odom’s portrayal leaves an indelible impact, turning Burr into a character as complex and multifaceted as Hamilton himself, and one whose tragedy resonates long after the final note.

The Best Acting Moment: “The Room Where It Happens“

Verdict: 4.5

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