In the opening line of Hamilton, the character of Aaron Burr asks ‘how does a bastard, orphan, son of a whore and a Scotsman, dropped in the middle of a forgotten spot in the Caribbean by providence, impoverished in squalor, grow up to be a hero and a scholar?’ It’s a good question, and one the show goes on to answer in great detail. But an equally pertinent question is ‘how does the tale of a long-dead, hothead politician with a mission, consigned to the history books and unheard of by many, make Broadway’s biggest penny?’

Because by rights, it shouldn’t work. Before the uber-talented Lin-Manuel Miranda packed Ron Chernow’s 2004 biography Alexander Hamilton in his suitcase for a bit of holiday reading and was inspired to write a musical, few people outside the US (and probably in it) knew the name of this Founding Father from the 1700s. Even if we had, the subject matters of revolution and constitutional reform seem more at home in a dusty lecture hall than a plush theatre. Yet Hamilton, like the man who inspired it, has achieved more than anyone thought possible. A show so successful, it broke box office records on Broadway, scooped eleven Tony and seven Olivier Awards, and is the hottest ticket in every city it plays (including being the fastest-selling show in the history of Edinburgh’s Festival Theatre).

If you’ve seen Hamilton live or on Disney+, you’ll know why. Musical theatre is all about alchemy, the coming together of story, music, song, choreography and vocals which, when combined, produce something more affecting than its parts. Like many musicals before it, Hamilton does all that, but then adds a layer of theatrical brilliance and a not-so-secret ingredient that broadens its appeal beyond the usual musical-theatre fanbase. As Miranda says, Hamilton’s diverse casting means it’s ‘about America then, as told by America now’. A cracking soundtrack which fuses hip hop, R&B and jazz also means the diversity on stage is reflected in the audience, with Hamilton attracting a wide demographic most musicals could only dream of.

In the original production, the eponymous role was played by Miranda himself. Since then, a plethora of talented actors have taken on this iconic part, the latest of which is Shaq Taylor, who will play Alexander Hamilton throughout the UK tour. ‘I’ve wanted to be a part of Hamilton since I first saw it in 2017,’ says Taylor, ‘because I felt represented in it. It was one of the first musicals I’d seen where I could see myself, and the abilities I have, up on stage. I knew I could replicate what I was watching but also put my own mark on it.’ The impact on audience members of seeing people of colour not only perform on stage but play key figures in American history, cannot be overstated. And for Taylor, that’s just one aspect of Hamilton’s mass appeal. ‘It’s so outrageously unique, there’s nothing else like it,’ he says. ‘How many shows can you name that have rap, R&B, hip hop, dance and contemporary all mixed in a big melting pot? And it looks at themes of freedom and love, which are things that people can get on board with and empathise with. It really is a story for anyone to enjoy.’

The show’s double casting also makes for interesting viewing. For example, Hamilton’s good friend the Marquis de Lafayette and his sworn enemy Thomas Jefferson are both played by the same actor in different halves of the show. Similarly, the youngest Schuyler sister, Peggy (a picture of innocence) is played by the same actress as Maria Reynolds (a temptress who leads Hamilton astray). For Gabriela Benedetti, this particular challenge, coming early in her career, has proved nothing but fun. ‘It’s really exciting,’ she says. ‘Every night, I play Peggy and find ways to be silly, then change my wig, put on red lipstick and have that complete contrast when I play Maria. As an artist it makes me feel like I’m really stretching myself.’

Like Taylor, the show’s representation means a great deal to Benedetti. ‘When I was growing up, to see anyone who even remotely resembled me or my siblings on stage was incredible. So to be even a small part of that now is amazing.’ Meanwhile, Taylor has to climb inside the mind of a man who dragged himself up by his bootstraps to fight for independence alongside George Washington and help shape the American Constitution. Then convey that journey via rapid-fire rap lyrics. ‘For me, it was about getting my head around how driven and ahead of his time Hamilton was,’ says Taylor. ‘He came from an island full of prisoners and thieves, with death all around him, and knew he didn’t want that for himself; he wanted a better life. So he was constantly racing, trying to achieve things, to please people and rise above his station in order to fulfil something which, ultimately, I don’t think he ever could because he created a vortex for himself that was never-ending. He had this alarm bell of death, so everything was fast-paced, and I’ve tried to get into the mindset of that.’

The pace Taylor speaks of is reflected in Miranda’s music and lyrics, which fly off the page at breakneck speed, capturing Hamilton’s ambition and drive. Not a single note or word is wasted, and all 21 cast members are put to good use, regardless of whether they’re a major character or part of the ensemble. ‘The show was created with such attention to detail,’ says Benedetti. ‘Even to the point of where our hips or shoulders face, so all our energy is always being brought to the same place. People come to see Hamilton for different things: the choreography, lighting design, costumes; every aspect of the show is so detailed that you can be watching it and not even be aware of which aspect is pulling you in because there’s so much. I’m still blown away by it and I see it every night.’

Hamilton, Festival Theatre, Edinburgh, Wednesday 28 February–Saturday 27 April, then touring the UK until Saturday 25 October 2025; the London show runs until Saturday 28 September.