Hamilton, the mega-hit musical about the life of and times of Founding Father Alexander Hamilton, opened the first week of a three-week run through March 23 at Keller Auditorium to an enthusiastic audience – many of whom knew each number. I experienced the electrifying show twice (March 5 and 7) and came away awestruck. Its intoxicating mashup of musical styles – ricocheting from hip-hop to pop to R&B to soul, and to Broadway show tunes – and swirling choreography had the standing-room-only audiences (both nights) enthralled.

Lin-Manuel Miranda, who wrote the music and lyrics, aptly and entertainingly conveyed the life story of Hamilton, who until the musical opened on Broadway in 2015, was mostly overlooked by popular culture except for his face on a ten-dollar bill.  The Portland production – sponsored by Broadway in Portland – is one of two Hamilton shows touring the nation. The other is currently in Houston.

Hamiton’s life (1755 or 1757 – 1804) had all the elements that can keep an audience transfixed, and the musical deftly relates it in two acts. The first act tells how he was an orphaned child from the Caribbean, but recognized for his intelligence and is sent to New York City in 1776, where his huge ambition and personality thrive.

Studying at King’s College (now Columbia University), Hamilton meets Aaron Burr and others who want to lead the colonies in a revolt against England. Hamilton becomes George Washington’s aide-de-camp during the revolution, marries Elizabeth Schuyler, and works with Lafayette to defeat the British at the Battle of Yorktown. After the war, Hamilton participates in the Constitutional Convention and co-authors The Federalist Papers, and Washington selects him as Secretary of the Treasury.

The second act opens with Thomas Jefferson returning from France, where he had been the U.S. ambassador, to begin his position as Secretary of State. Hamilton finds a way to assuage the southern states, which don’t want to help pay for the overall costs of the Revolutionary War, by offering to place the nation’s capital on the banks of the Potomac River. In exchange, the southerners back Hamilton’s plan for a national bank.

But Hamilton begins an affair with a married woman, Maria Reynolds, and is blackmailed by her husband. The extortion is discovered by Hamilton’s rivals, including Burr, but Hamilton short-circuits them by admitting to the affair in a pamphlet that he publishes. That harms his marriage, and also leads to his son, Philip’s death. Animosity between Hamilton and Burr escalates to the point that they duel it out, which results in Hamilton’s death.

Miranda’s musical superbly balances the large-scale aspects of Hamilton’s story that affect the nation and his personal triumphs and failures. In the Portland performances I saw, Hamilton’s genius and heroic vibe was wonderfully conveyed by Blaine Alden Krauss. Kendyl Sayuri Yokoyama elicited the sweetness of Elizabeth Hamilton and Jisel Soleil Ayon wonderfully expressed the intelligence of her sister, Angelica. Kameron Richardson marvelously handled the gravitas of George Washington, which was deftly countered by Simon Longnight at the high-stepping Jefferson. Deon’te Goodman captured the hesitancy and frustration of Burr, whose character provided a narrative element to the storyline.

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A constant swirl of precisely timed choreography by Andy Blankenbuehler was perfectly incorporated into the stage directions of Thomas Kail and supported by numerous changes of costumes designed by Paul Tazewell. Alex Lacamoire’s orchestration – conducted by James Davis Jr. – accented the text and movement to perfection.

 We got a window into the high stakes of the Revolution. King George III – in a supremely humorous depiction by Paul Louis Lessard – proclaimed with sneering contempt that he would kill the entire family of any colonist who disobeyed him. Hour-long cabinet meetings were concisely boiled down to a few essential sentences that were delivered in hip-hopping rhyme.

We glimpsed Hamilton’s impetuous nature and his persuasive oratory and writing skills, although his ornate use of language was substituted by today’s lingo. But his points were made convincingly, and they propelled the storyline forward.

The musical made clear that Hamilton was perhaps better suited for Elizabeth’s sister, Angelica, because of her intellect and similar temperament. Angelica’s number about being unsatisfied – sung passionately by Ayon – matched well with Hamilton’s quest to become something great and lasting in the firmament of American history.

Three duels and their arcane rules highlighted the musical. The first occurred between soldier John Laurens and General Charles Lee, who had slandered Washington. That ended with Lee taking a non-fatal wound to the side. The second involved lawyer George Eacker and Philip Hamilton after the former had derided Philip’s father in a public speech. Philip didn’t survive the duel. The third happened between Hamilton and Burr. In the musical Burr regrets that he killed Hamilton, surmising that the world is wide enough for both of them.

Rather than end with Hamilton’s death, Elizabeth takes center stage to tell how she lived another 50 years, spoke out against slavery, helped to raise funds for the Washington Monument, and founded an orphanage whereby she could see the eyes of her son and her husband in the eyes of the many children who were helped. That was a terrific way to tie a ribbon around the incredible story of one of America’s greatest statesmen, and it makes listeners reflect on what they want to do with their lives, and who will tell their story after they are gone.

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Hamilton continues through March 23 at Keller Auditorium, 222 S.W. Clay St., Portland. Find ticket and schedule information here.