Sitting in the glorious Shea’s Buffalo Theatre, my theatre companion du jour wondered if Hamilton – in its third road trip here after its 2015 world premiere in New York City – was going to hold up. Happily that answer is a resounding, revolutionary yes. Everything about this production is as fresh and exciting as it ever was, from writer/composer Lin-Manuel Miranda’s retelling of our Founding Fathers stories to the edgy and elegant choreography to the passion the ensemble brings to their roles.

If you haven’t seen it previously (or even if you have), you have until October 27 to take it all in.  This is quite the cast. Tyler Fauntleroy as Hamilton is solid; his delivery of Miranda’s words and music is exquisitely vulnerable and strong at the same time.  Jimmie “JJ” Jeter is all swagger as Aaron Burr. A.D. Weaver as George Washington has a marvelous, mellifluous voice, and when he sings “If I say goodbye, the nation learns to move on It outlives me when I’m gone Like the scripture says, ‘Everyone shall sit under their own vine and fig tree And no one shall make them afraid,’ “ it’s beautiful and moving. The lovely Schuyler sisters (Lauren Mariasoosay as Eliza, Marja Harmon as Angelica, and Lily Sota as Peggy) have that great, tight ‘60s girl group harmony when they sing. Sota swings back as Maria Reynolds, the sultry, scheming, seductress who was at the center of our young country’s first sex scandal. (Hey, it had to happen sometime.)  Jared Howelton was a hoot as Thomas Jefferson and he reins it in nicely as the Marquis de Lafayette. Of course, the King George III moments are wildly entertaining and Justin Matthew Sargent does the royal job justice.

The peppy tunes are familiar and the hip-hop recitative is now iconic, just as the regal orchestral opening chords. It’s haunting “It’s Quiet Uptown” near the end of Act II that gets me every time. The soft piano chords and eerie violin and viola lines under the voices of Fauntleroy and Harmon and the ensemble  voices as we watch the parents walk the set and grieve the loss of young Phillip is heart-breaking and the perfect combination of story and song.  Of course, the (spoiler alert) last gasp has new meaning for every patron, every time. For me, it’s the conclusion of a moment in time and the realization that we could be remembered or forgotten with equal measures of ease, but somehow our stories can live in some dimension.

It’s still astounding to me that Miranda could pick up Ron Chernow’s detailed Alexander Hamilton biography as a vacation read (yes, people can and do read history for fun), and find fresh rhythm in the writing to spend six years making into a Tony Award-winning musical that is engaging and enduring.

Check out sheas.org for tickets: Hamilton runs a well-paced two hours with a 15-minute intermission to stretch and check out the lobby swag.