Renowned local critic Gerry Parker said: “A great production.”

But he frowned when he thought about the music because many of the quick-fire raps were very hard to follow – it’s a generation thing, I think.

Subtitles may have helped.

But this wasn't so for the young people who were fully tuned-in the 500-a-minute words ricocheting from the stage.

But my companion on Friday evening said: “Another awesome night at the Bristol Hippodrome.

“Pitch perfect singing. Engaging script. Captivating dancing and top notch acting by a very talented cast.

“Highly recommended.

“It was a male world for sure with all the key roles played by men with the women being the love interest and very much on the fringes.

“Has anything really changed over the past 248 years ?

“We are 45 presidents on from George Washington and still we await the first woman president of the US.

“I look forward to a musical celebrating the first female president hopefully in the not-too-distant future.”

Another said: “The energy, stamina and recall of the cast is fantastic, and I loved when the story went back and forth in time.

“Finally, this show is broadening the stereo typical theatre audience.

“For me it had all the emotion of Blood Brothers – really powerful, strong vocals and beautiful harmonies.

“At the end the strength of the women came through because although it was all about Hamilton it was his wife who was the backbone, it was her that carried on his legacy.”

For me it is Bridgerton on speed with for extra spice shapely bums in fresh-colour breeches. 

The teenager in our group said hearing the music often beforehand made the lyrics totally accessible for her.

Whether Hamilton which purports to be the story of America from the founding fathers’ point of view is historically correct is debatable but it really doesn’t matter, this is a musical with pace and rhythm.

The score that blends hip-hop, jazz, R&B and belters with a mostly black cast adds to diversity in action.

The blurb says ‘Hamilton has taken the story of American founding father Alexander Hamilton and created a revolutionary moment in theatre—a musical that has had a profound impact on culture, politics, and education’. 

The scenery which was shipped from London is huge and mostly static with movement on stage coming from the company helped by ace choreography and a slow revolving floor circle with such clever lighting to adding depth.

It is based on Ron Chernow’s acclaimed biography. 

Big applause for scenic design by David Korins, costume design by Paul Tazewell, lighting design by Howell Binkley, sound design by Nevin Steinberg and hair and wig design by Charles G. LaPointe.

And UK producer Jeffrey Seller, with Sander Jacobs, Jill Furman, The Public Theater and Cameron Mackintosh.

Star Shaq Taylor is brilliant as Alexander Hamilton who is described as a ‘feral tomcat’ such is his extra martial dalliances, Sam Oladeinde is Aaron Burr, Gabriela Benedetti plays as Peggy Schuyler/Maria Reynolds,  KM Drew Boateng as Hercules Mulligan/James Madison, Daniel Boys as King George, Maya Britto as Eliza Hamilton, Aisha Jawando as Angelica Schuyler, DeAngelo Jones as John Laurens/Philip Hamilton, Billy Nevers as Marquis de Lafayette/Thomas Jefferson and Charles Simmons as George Washington.

For my companions the standout performance came from Francophile Billy Nevers and we all loved the King, with twinkly over large crown and perfect diction, a comic and callous dictator.

They were joined by Simeon Beckett, Taylor Bradshaw, Cletus Chan, Kyerron Dixon-Bassey, Kyeirah D’marni, Yesy Garcia, Jonathan Hermosa-Lopez, Levi Tyrell Johnson, Honey Joseph, Akmed Junior Khemalai, Richard Logun, Buna McCreery-Njie, Mia Mullarkey, Antoine Murray-Straughan, Kiran Patel, Izzy Read, Alice Readie, Harry Robinson, Phoebe Samuel-Gray, Jasmine Jia Yung Shen, Samantha Shuma, Michael James Stewart, Rhys West, Jack Whitehead and Sian Yeo.

The catchphrase of being in ‘the room where it happens’ resonated as you watched the story unfold.