Spamilton: An American Parody at the Peace Center

Folks heading to Spamilton: An American Parody at Peace Center’s Gunter Theatre might expect a Mel Brooks-like send-up of Hamilton, complete with jokes about the Broadway smash’s hip-hop dialogue, dual performances, and turntable stage.

Amusing as that work might be, Gerard Alessandrini’s creation is instead a fantasia on Lin-Manuel Miranda and the development of Hamilton, complete with humorous insights about the state of Broadway at the time of its inception, sidebars on the original show’s cast, and other related tangents.

The broader focus makes Spamilton far more accessible than a satire rooted in knowledge of Hamilton itself, and while familiarity with the source material makes the gags richer, the silly performances and rapid-fire style inspire steady laughs even for the uninformed.

Further enhancing audience attention is the production’s bare-bones set — a sharp contrast to Hamilton’s elaborate backdrops. There’s stunning piano accompaniment from Matthew Hougland to the left and a tall Spamilton poster at the rear of the stage, behind which the actors retreat and reemerge in new costumes and props, but otherwise the show relies on its talented, versatile crew of six to entertain the crowd — a mission at which they excel for 80 zippy minutes.

Miranda dead-ringer T.J. Newton earns chuckles from the start for his appearance alone, but quickly proves there’s more to his skill set than merely doppelgänger looks. As Leslie Odom Jr. and the Tony-winning actor as Aaron Burr, Datus Puryear nicely conveys the dual “above-it-all” nature of both roles, trying and failing to offer reality checks to his less-mature co-stars.

Joining Newton’s Miranda in the group of misfits are Jared Alexander’s Daveed Diggs, who gets a goofy bio-rap to the tune of the Fresh Prince of Bel-Air theme song, and Rendell DeBose as primarily George Washington, but also numerous side characters, including an iconic Broadway character in what’s arguably Spamilton’s funniest moment. Also getting in on the glee is Brandon Kinley, who makes an uproarious appearance as a twist on King George III, lamenting the influx of straightness in the formerly gay-dominated industry.

Strong as the men are, the ensemble’s MVP award goes to Marissa Hecker for displaying its widest range and most pleasant singing voice. Equally adept at simultaneously portraying all three of the actresses who play Hamilton’s Schuyler sisters (with help from puppets) as she is at giving her best Julie Andrews impression, the team’s lone female member receives numerous opportunities to showcase her gifts, and capitalizes on each chance.

Together, the unified front makes playful digs at Charlie and the Chocolate Factory, The Book of Mormon, Wicked, and other recognizable shows; famous Broadway personalities; and Hamilton’s inevitable film adaptation — including certain original cast members’ chances at making the leap to the big screen.

Ironically, Spamilton’s commitment to Hamilton’s rap approach leads to the very struggle with lyrical clarity that the show skewers, resulting in multiple lost jokes, but the words land far more often than not (and the story is far easier to follow than its inspiration’s). Elsewhere, esoteric Broadway gags like a Stephen Sondheim parody have enough hammy lines to work on general audiences, though the full extent of the bits will be lost on many attendees.

The specialized humor feels appropriate, however, as a treat for hardcore musical theater fans and a bit of a challenge to Hamilton-loving mainstream crowds to up their IQ in this field. Even more beneficial is that after this stealth crash course in Broadway history, people can enjoy Hamilton all the more when it returns to Peace Center for its 2020-2021 Broadway season.

Spamilton: An American Parody runs through Jan. 5 at the Peace Center’s Gunter Theatre. Visit peacecenter.org for details and tickets.

(Photos © Roger Mastroianni)