The PNC Broadway in KC series has another feather in its cap! The one, the only, Hamilton has rolled into the Music Hall. The drama department at Ruskin High was donated tickets for students to attend, and I talked to two students outside the Music Hall posing with their passes, thrilled to be there. Asked how excited they were, they answered in all caps, “SO EXCITED!”

Lin-Manuel Miranda’s record-shattering take on one of the American Revolution’s most controversial characters is now playing at Kansas City’s Music Hall for 16 performances through March 1. Tickets are still available for some showtimes via BroadwayInKC.com or the box office.

As the first character steps on stage, the electricity begins and never ends till the curtain falls. The cast moves as one flowing unit from scene to scene. Choreography, woven by Andy Blankenbuehler, is flawless. The cast serve as stage hands and even the small set changes become part of the seamless dance numbers that blend together with minute precision.

Ah, the set! Scenic designer David Korins and lighting designer Howell Binkley have together created a unique set that takes us from New York to England, from war room to a bar, and it’s done with different lighting arrangements. There are a few moving pieces, but the set involves one multi-functional backdrop with platforms for fight scenes, grandstanding speeches, and various crowd scenes. Most of the action is on a moving circular stage. Lights rise and fall in the middle of the stage as scenes change from a ball to a wedding to a war. The colors of white, yellow, and gold make for a very believable set change, but not a set change. It’s both simple and complex — and perfectly executed.

Costume designer Paul Tazewell joins in the theme of basic design that lends itself to smoothly executed costume changes. The cast wears a very simple, plain costume. This serves as a base for the necessary costume changes between numbers when there is no time for costume changes. The cast will wear the basic outfits as part of the faceless crowd. In less than a minute, Revolutionary coats are donned as are ball gowns, civilian outfits, and congressional professional suits. The faceless now have identities; they become more than who they were. These changes continue throughout the show, and the cast never slows their song and dance.

Thanks to the musical oversight by Alex Lacamoire, the music never ends. The musical numbers are simply outstanding, and the orchestration is beyond compare. You’ll find a mix of rap, hip hop, rhythm & blues, and an unexpected, absolutely magical jazz number. Musical interactions between characters are nothing but pure chemistry. There are no gaps in musical heated political discussions. Transitions between scenes continue without stopping for a beat, even as the context of the scene changes.

Thomas Kail has directed an unbelievably amazing show! He keeps his cast in constant movement. There is no down time. Nobody stops from beginning to end, except for well-earned applause. Hamilton, played by Tyler Fauntleroy, Aaron Burr, played by Jimmie “J.J.” Jeter, and George Washington, played by A.D. Weaver have been strategically placed by Kail. When each makes their initial introduction, they own the stage. This director has pulled the best each actor has in him, and their character becomes the best of the best.

An exquisite production from the “Hamilton” road tour did more than excite high school students. I encountered two women from Lee’s Summit heading to their car when it was time to go. They were riding a Hamilton high, still whooping up the show two blocks away. One said the person next to them didn’t like their noise. Her friend said, “We were Hamilton and he was Burr!”