Why Leslie Odom Jr.’s 'Hamilton' Return Is Worth Celebrating

by Chris Peterson, OnStage Blog Founder

Every now and then, Broadway gives us a moment that feels like a little wink from the theatre gods. Leslie Odom Jr. returning to Hamilton as Aaron Burr this fall? That’s not just a wink. That’s a standing ovation before the curtain even rises.

Let’s start with the obvious: Leslie Odom Jr. is a generational talent. His original turn as Burr wasn’t just award-winning, it was era-defining. His performance became the benchmark for layered villainy wrapped in charm, ambition, and heartbreak. He didn’t just play Burr—he reframed him. He made the line "I'm the damn fool that shot him" sound like both a confession and a victory lap. So the fact that he’s stepping back into those buckle shoes at all feels like a rare and glorious second act.

Naturally, the internet is doing what the internet does best—speculating wildly. Some have questioned why he’d return now. “Is Hamilton struggling at the box office?” (Nope—it’s still one of Broadway’s most reliable draws.) “Does he need the money?” (Doubtful—this is a Tony winner with an Oscar nomination, albums, films, and a voice smoother than a bourbon on ice.) “Is this a vanity move?” (Give me a break.)

Can we all just take a collective breath and not overanalyze one of the coolest bits of Broadway news in recent years? Because here’s the thing: this isn’t damage control. It’s a gift. And we should be celebrating it accordingly.

The truth is, no one owes Broadway anything—especially not stars who helped change the course of modern musical theatre and then moved on to do incredible things elsewhere. But when they choose to return? That’s love. That’s respect for the material, the fans, and the stage that launched them.

We don’t need a cynical explanation for this. Maybe Odom just missed the show. Maybe he missed the adrenaline of live theatre. Maybe he missed delivering “The Room Where It Happens” in front of a house full of gasping, goosebumped humans instead of belting it in his kitchen while washing dishes like the rest of us. Or maybe he, like many of us, just wanted to come home for a little while.

And can we talk about what a smart move this is for Hamilton, too? The show isn’t in trouble, but we’re nearly a decade out from its debut. Bringing back original cast members reminds the world just how special this piece is. It reintroduces a new generation of theatergoers to the people who built this juggernaut from the ground up. It’s like reopening a beloved restaurant and finding the original chef back in the kitchen—same menu, but suddenly everything tastes electric again.

My hope? That this is the start of something. Not a one-time return, but a trend. I want to see Phillipa Soo float back into “Helpless.” I want Daveed Diggs to double-time his way through “Guns and Ships” again. I want Renée Elise Goldsberry to drop the mic on “Satisfied” one more time and remind everyone why she’s a queen in any timeline. I want a Broadway where stars don’t just launch from the stage, but occasionally boomerang back to it—not out of obligation, but joy.

So let’s not waste time questioning this. Let’s buy tickets. Let’s cry during “Dear Theodosia” and cheer when Burr struts into “The Room Where It Happens.” Let’s remember what it felt like the first time we saw it—and let’s be grateful we get to feel that way again.

Welcome back, Leslie. We’ve been waiting for it.