DeAundre’ Woods talks ‘Hamilton’ anti-hero Aaron Burr as musical gets ready to hit Abu Dhabi 

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Updated 07 January 2024
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DeAundre’ Woods talks ‘Hamilton’ anti-hero Aaron Burr as musical gets ready to hit Abu Dhabi 

DUBAI: “Hamilton,” the global phenomenon that is Lin Manuel-Miranda’s hit stage musical about one of America’s founding fathers and his greatest nemesis, is set to hit Abu Dhabi this month. 

Captivating fans around the world since it first burst on to the stage in 2015, “Hamilton” has received an array of accolades including 11 Tony Awards, seven Olivier Awards, the Pulitzer Prize for Drama and the 2016 Grammy Award for Best Musical Theatre Album. 




DeAundre’ Woods stars as Aaron Burr in hit musical ‘Hamilton,’ being staged at Abu Dhabi’s Etihad Arena from Jan. 17 to Feb. 4. Supplied

The musical’s first international tour — with a cast drawn from productions all over the world including Broadway, the North American tours , London, Australia and Germany — recently wrapped up their three-month stint in Manila and are headed to the UAE. 

Speaking to Arab News ahead of the show’s Jan. 17 premiere at Etihad Arena, DeAundre’ Woods — who plays the main anti-hero of the story, Aaron Burr — says that the musical, despite telling a very American story, is at its heart a universal one.  

“This is a story about humanity. This is a story about love and forgiveness and flawed people who have been called upon to work together. And I think anywhere you go, you will find someone somewhere who has been through a lot, has been hurt or is sort of being tested in a way that they didn’t really understand at the time. And a big theme in the show is, ‘Let me tell you what I wish I had known.’ If you think about it, I’m playing a role of a man who literally owned my ancestors. And that is a really, really very heavy thing for us as African Americans to come on to the stage knowing that at this point in history, we weren’t even considered human beings,” he said.   

“And that just kind of just speaks to the evolution of humanity. And I think that’s all it is. It’s like you do the best with what you don’t know. And then you reflect on that knowledge and try to be better and share what you’ve learned along the way. And that is what this show is teaching us — how to be a better person,” he said. 

Burr, an American politician, businessman, lawyer and freedom fighter, is a historical figure who is remembered for his famous personal and political conflict with Alexander Hamilton, which culminated in the Burr–Hamilton duel in in 1804. Burr mortally wounded Hamilton, who died from his wounds the following day. 

When asked what was most challenging about playing the character, Woods said: “It’s hard to do stillness in theater, especially musical theater. But also, restraint is one thing that I’ve learned as person. The show is so fun. And the audience is cheering along, and yes, it’s like a global phenomenon. It’s this huge, bright moment within this box. It is very glamorous, and we’re dressed in these beautiful threads and the melodies and harmonies are so lush. So, the hardest thing for me is to be restrained within the character and not fall into the love I do have for the show.” 

With several actors having stepped into Burr’s shoes after Leslie Odom Jr. originated the anti-hero for the original run of the show, as well as the Disney+ piece, Woods said that he connected with the character on a deep level. 

“Having also played the character of Hamilton previously, I know what it means to really go for something, to put your all out and to not leave anything behind. And that’s sort of the edge for me. But Aaron Burr has his own thing,” he said.  

“And so, as much as he seems restricted and restrained to the audience and to his peers, Burr is very active within this circle that he’s created for himself, and I feel like it really drives my sort of attitude and the dynamics of relationships I have with people. And I’m also religious. So, I grew up as a believer, and I know what it’s like to sort of serve something higher than myself. And it’s very, very spiritual journey for me. So, I would say that, I think — I don’t know because I’ve never seen myself — but I believe that I capture a very profound and a very engaged sense of this rock. I really try to capture Aaron Burr’s strength. This story could have been about Burr. Had he not been involved in this cage of trying to protect this legacy, this story could easily have been about Burr as the hero and not Hamilton.” 

Featuring a score that blends hip-hop, jazz, R&B and Broadway, “Hamilton” packs 46 unforgettable tunes, one upstaging the next. 

When asked to pick his favorite song from the musical, Woods selected “Dear Thedosia,” a song featuring the characters of Hamilton and Aaron Burr, as they both speak to their respective children.  

“The first time I heard it, I was just so moved. It is just also well built and it is a beautiful moment. These two men who couldn’t be further away or going further apart and here they are trying to express a feeling that they didn’t get to experience as children, the experience of having their fathers there, and now they are fathers themselves.  

“I get teary sometimes because I think about my grandparents. My grandmother — who passed away — I always think about her. She kind of gave me this curiosity of music and singing. And I think of that line in the song, ‘One day you will blow us all the way,” and I think, “Oh, wow, she’s not gonna see this.’ But if she was here, maybe this would be the moment she’s like, ‘Well, you did it.’” 


Hear them out: The best Arab alternative albums of 2025 

Updated 25 December 2025
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Hear them out: The best Arab alternative albums of 2025 

  • Bojan Preradovic’s pick of records released by indie artists from the Arab world this year 

Saint Levant 

‘Love Letters’ 

With his sophomore LP, the Palestinian artist matures from viral breakout to more vulnerable, multilingual pop and R&B, shaping a compact set of love songs with a firmly Palestinian center. He braids sleek synths, North African grooves, and earworm melodies into pieces that drift between late-night infatuation and clear-eyed reflections on home, distance, and belonging. “DALOONA,” a collaboration with Shamstep pioneers 47Soul, and “KALAMANTINA,” featuring Egyptian rap star Marwan Moussa, both lean into joyful release, while “EXILE” sits with the emotional cost of separation and absence. “Love Letters” threads romance, memory, and identity into understated, exceedingly replayable art. 

 

Zeyne 

‘Awda’ 

Rising Palestinian-Jordanian star Zeyne uses her debut LP to alchemize the last few years of upheaval and her meteoric ascent into a 13-track map of who she is and where she comes from. Folding contemporary R&B and pop into playful rhythms, dabke pulses, and Arabic melodic turns, she sings of home, pressure, and stubborn hope on tracks that feel both diaristic and cinematic. The record shifts between tenderness, unease, and quiet celebration, while guest appearances from Saint Levant and Bayou mix perfectly with the record’s unique flavors rather than overpowering them. This is an exhilarating, soul-searching foray into Arabic alt-pop that treats vulnerability and pride as two sides of the same coin. 

 

Yasmine Hamdan 

‘I remember I forget’  

A quietly piercing LP from the indie icon about what we choose to carry and what we try to erase. Recorded with her trusted musical confidant Marc Collin, the album folds muted electronics, trip-hop beats, oud, and Arabic strings into songs in which personal memory, folk echoes, and her country’s never-ending tumult blur into one. Album closer “Reminiscence” lets the record fade like a long-held breath, reminding us that Hamdan is still one of the few artists capable of molding private anxieties into a shared, luminous language.  

 

Kazdoura

 ‘Ghoyoum’ 

The Toronto-based duo’s debut weaves a story of migration and fracture into a quietly dazzling Arabic fusion record. Vocalist Leen Hamo and multi-instrumentalist John Abou Chacra root everything in Levantine maqams, then let the songs drift toward jazz, psychedelia, and dream pop without ever losing sight of the tarab they grew up on. From the yearning of opener “Marhaba Ahlen” and the fiery feminist chant of “Ya Banat” to the reworked folk of “Hmool El Safar” and the woozy sway of “Khayal” and “Titi Titi,” they sculpt homesickness, resilience, and slow healing into something genuinely transformative. 

 

Tamara Qaddoumi  

‘The Murmur’ 

On her first full-length album, Tamara Qaddoumi stretches the trip-hop and shadowy pop universe she explored on 2021’s EP “Soft Glitch” into a deeper, intensely moving world. Written with longtime collaborator Antonio Hajj, and produced by indie mainstay Fadi Tabbal, “The Murmer” leans on low-end throb, smoldering synths, and incisive guitar lines that feel both intimate and vast. Her voice hovers between confession and spell, circling questions of identity, grief, and attachment that evoke her own hybrid Kuwaiti, Palestinian, Lebanese, and Scottish heritage. The result is a delightfully cobwebby, absorbing LP that lingers long after it ends. 

 

Sanam 

‘Sametou Sawtan’ 

Recorded between Beirut, Byblos, and Paris, “Sametou Sawtan” – Arabic for “I heard a voice” – is a poignant, unsettled collision of noise rock, free jazz, and Arabic folk that fizzes with tension. Produced by Radwan Ghazi Moumneh, the eight tracks by the art-rock sextet are anchored by Sandy Chamoun’s remarkable vocals, which move from murmured prayer to visceral intensity, drawing on classical Arabic poetry and prose and her own lyrics to inhabit figures who are bewildered, grieving, or stubbornly alive. From the opening surge of “Harik” to the slow burn of “Hamam,” Sanam distill personal and collective unease into work that’s urgent, physical, and impossible to ignore. This is an act on the precipice of wider, global renown.  


Nabeel 

 

‘Ghayoom’  

On “Ghayoom,” the Iraqi-American songwriter — real name Yasir Razak — firmly plants the flag of an audacious musical explorer venturing across roads less traveled. He sings in Arabic over a wall of distorted guitars and slowcore drums, enveloped by captivating, shoegaze-colored soundscapes. The artwork, built from worn family photographs, hints at what the music is chasing. These eight tracks pair devotional tenderness with the grit of DIY rock. Opener “Resala” aches with unsent words; “Khatil” hits with uneasy momentum; while the elegant flicker of pop-tinged moments scattered throughout the album maintain a raw and bruised edge.  

 

Malakat 

Al Anhar Wal Oyoon 

On its first showcase, Jordan-based label Malakat gathers seven Arab woman artists and enables them to pull in seven different directions that end up flowing as a single current. “Al Anhar Wal Oyoon” (‘The Rivers and the Springs’), moves from Intibint’s hauntingly inspired vocalization to Liliane Chlela’s serrated electronics, and from Sukkar and DAL!A’s skewed pop to Sandy Chamoun’s voice-led piece, and Bint Mbareh’s closing track, developed in dialogue with visionary producer Nicolas Jaar. Mixed across Amman, the UK, and New York, and mastered by the highly-sought-after Heba Kadry, this is a deeply textured statement of intent from a label quietly redrawing the map of experimental Arab music.