Stephanie Umoh, Angelica Schuyler for Hamilton's 'Hamil-Ten,' Celebrates a Decade of Broadway History

As Hamilton marks its 10th Broadway birthday on August 6, it’s an ideal moment to acknowledge Lin-Manuel Miranda’s achievement in making American history relevant, riveting and—here’s the amazing part—non-partisan. At this fraught moment in 21st-century politics, it feels good to spend a few hours with 18th-century heroes and heroines who feel lucky to be alive in the greatest city in the world. Stephanie Umoh gets the honor of playing the show’s most irresistible heroine, Angelica Schuyler, in the “Hamilten” cast at the Richard Rodgers Theatre (she recently announced that her final performance will be September 7).

Like many members of the Hamilton family, Umoh began her journey in one of the musical’s touring productions and has popped in and out of the show since 2018, returning to Broadway last fall. The Texas native brings an appealing mix of sweetness and smarts to Angelica, qualities New York audiences first experienced in her performance as Sarah in the 2009 revival of Ragtime. In advance of Hamilton’s gala anniversary celebration, Umoh shared insights into what makes the show, and the eldest Schuyler sister, so special.

How does it feel to be part of the 10th anniversary cast of Hamilton?

It’s exciting, it’s overwhelming and I feel very honored to be a speck on the timeline of such an iconic show. Hamilton is still a theatrical phenomenon, and it’s an honor to perform in front of the original cast.

Did you see the opening-night cast, including Renée Elise Goldsberry as Angelica?

I was lucky enough to get a standing room ticket right after the [2016] Tonys, at one of Lin’s last shows, and it blew my mind. I’ve always been in awe of Renée. She did the play Good People, she was in The Color Purple and Rent—she is someone whose career I admire. I finally got to meet her when we did a tour stop in Puerto Rico in 2022, and Lin and a few original cast members came on stage afterwards. She’s just as lovely as can be, so gracious, and it was amazing to get to tell her what an inspiration she has been to me.

What makes Angelica such an iconic heroine?

Considering the position of women in that period, Angelica was able to use her social skills—and her money, of course—to influence politics. She’s so smart and skillful, and there’s something about the way she walks into a room and is able to direct how she wants things to go. There’s something powerful about her, and there are too few powerful women portrayed on stage, especially in a male-dominated show.

 

 

 

 

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It’s striking how many actors have a long history with Hamilton, on tour and on Broadway. How do you account for that loyalty?

When a show this good falls into your orbit, it’s hard to let it go. Hamilton is a perfect musical, and a wonderful company to work for. It’s also a hard show to learn—a lot of lyrics, the music is hard, the choreography is hard; it takes six to eight weeks to teach somebody one track, and a swing may be covering six different dance tracks. If you can learn all that and they like you, they ask you to stay.

Speaking of choreography, Andy Blankenbuehler’s very precise work seems like an important element in keeping the show in top shape.

Andy Blankenbuehler is an absolute genius, and I love hearing him talk about his intention with the choreography, even though I do very little of it myself. Every movement lends itself to the story, and the audience can feel that in the reach of an arm, the raise of a hand, a step forward. Everything adds to the tension and the stakes of what’s going on.

What’s it been like to work with multiple Alexanders and a variety of stage sisters over the years?

It's the most fun. If you do the same thing every day, it can be hard to make new discoveries, but when a new person comes into the mix, they give you something fresh to respond to. My Angelica is going to be different with Edred Utomi, who was my Hamilton on tour, and with Trey Curtis, my Hamilton now. That keeps things interesting. And when someone is out sick and an understudy goes on, it’s like, here we go—let’s do this!

Given the divisions in American politics over the past 10 years, isn’t it amazing that everyone leaves Hamilton feeling good about the show?

Absolutely. I get emotional every time George Washington goes to the edge of the stage and sings “One Last Time.” It makes me feel so patriotic. Thinking about that moment when our first President is saying goodbye, I’m always left with [a question] that is still true today: What can we become? That’s why I get choked up, because the possibility of America is what makes us a great nation.

Looking back at the beginning of your career, how big a leap was it to go from Lewisville, Texas, to Boston Conservatory?

It was a very big deal because I had never been to the East Coast! My mother hadn’t either. I auditioned for many schools, and Boston Conservatory gave me a scholarship. Originally, I was looking to go to school for biology and pre-med, but at the last minute I said, “I want to do theater.” I got in late, and my mom and I packed my things and flew to Boston. I experienced my first Boston winter, and my coat wasn’t thick enough, but it was the best move of my life.

You gave a lovely Broadway debut performance as Sarah in Ragtime. What’s your favorite memory of that show, which is returning to Lincoln Center Theater this fall?

That was truly the most iconic moment of my life. Sometimes I still can’t believe it happened. I was so young; I was so scared. If I could tell young me anything, I would say, “Just be still and savor the moment. You got this for a reason.” I’m so happy the show is coming back and that audiences will get to experience it again. We need that show right now.

Do you think your 23-year-old self was prepared for the ups and downs of a theatrical career?

Oh, I was not prepared. I didn’t know what was ahead, and when you [experience] success so soon, you have on rose-colored glasses. I didn’t think the love of my life, theater, would ever break my heart, but I’ve had my heart broken many times. That’s true of all my actor friends and director friends and creator friends. It’s a tough business, which is something you have to learn to keep moving forward: This is a business. It’s not personal.

Having said that, do you feel there is more openness now on Broadway than when you started out?

A thousand percent, and I love to see it. I love the fact that there is more opportunity, and that the stages are far more diverse. Someone made a post about all the Black female leads on 44th Street [this past season], which is so cool. Audra McDonald, my inspiration, is a huge part of why we’re seeing more diversity on Broadway. And if I have helped pave the way for that, it makes me very happy.