Rap, recite and sing your way through the founding of America with one of its most important figures in “Hamilton,” now playing at the Blaisdell Concert Hall.

Hawaii’s most anticipated show in years did not fail to overwhelm and impress at Thursday’s staging, which enthralled a highly entertained crowd for the entire evening.

Lin-Manuel Miranda’s acclaimed production traces the life and times of Alexander Hamilton, an immigrant born in poverty who rose to become a hero of the Revolutionary War, a Founding Father whose imprint is indelible throughout early documentation of the nation’s history; and the first secretary of the U.S. Treasury, which led to the formation of the modern capitalist-mercantilist economy.

Hamilton was an intellectual and a romantic, and, as portrayed by an excellent DeAundre’ Woods, an ambitious striver as well. But he was also an adulterer and philanderer, and he would pay dearly for it.

Miranda conceived of the musical after reading the 2004 biography “Alexander Hamilton” by historian Ron Chernow. The musical opened on Broadway in 2015 after nearly seven years in development. The production drew early attention for Miranda’s use of rap, hip-hop, jazz and other contemporary music forms and casting of Black and Latino actors to play historical figures such as George Washington, Thomas Jefferson and Hamilton.

Miranda said he did so to comtemporize the story for modern audiences. As it turns out, that decision was not only marvelously effective in conveying the sense of the colonists being treated as second-class citizens but also in sidestepping any charges of cultural appropriation by white actors wearing breeches and puffy shirts and spouting rap and hip-hop lyrics.

“Hamilton” is as much opera as it is musical. There is almost no spoken dialogue. Musically, it is through- composed, the songs propelling and telling the story while providing texture as well. Audiences must pay close attention as the action speeds through Hamilton’s breathtaking life. Unfortunately, some of the lyrics are likely going to get lost in echo-laden Blaisdell Concert Hall.

The set of “Hamilton” is fairly simple, consisting mostly of platforms that are moved around the stage and a moving section of floor. The costuming is historically appropriate to the Revolutionary War era.

Yet this qualifies as a lavish production. It’s the sheer quantity of talent onstage and how the actors are used that makes “Hamilton” a grand spectacle. There are more than 40 songs, with one major dance number following another. The different musical genres — including traditional Broadway ballads and classical European references — fit together seamlessly.

And the wordplay is fantastic, the song settings ingenious: Two songs are staged as rap battles, symbolizing debates between Hamilton and Jefferson.

Woods commits fully to the titular role, introducing the young Hamilton as an eager, overly ambitious and talented neophyte among young rebels in 1776. He has a pleasing voice and a youthful energy to his step, which serves the character well.

Aaron Burr, played by an excellent Ellis C. Dawson III, was both Hamilton’s friend and nemesis. He is a difficult character to draw, because while extremely intelligent, Burr lacks principle and has a personality built on nebulousness. Dawson’s Burr presents an interesting blend of strength and weakness.

Darnell Abraham’s booming voice is perfect for Washington, conveying gravity and authority simply in its resonance. And Paris Nix, as Jefferson, is hilarious as a cocky bon vivant who returns to America after partying the war away in Europe and plots his own path to power.

The “Hamilton” women also figure prominently. The two Schuyler sisters, Eliza and Angelica, are two of the most intriguing figures in the story. Morgan Anita Wood plays Eliza, who becomes Hamilton’s wife and anchor, with a warmth and sweetness, while Maria Harmon, as Angelica, was just as engaging in her portrayal as Hamilton’s emotional and possibly physical soulmate.

“Hamilton” is an exceptional production, about an exceptional man during exceptional times. It’s also a very human story, portraying people with foibles that affected not only their lives but the life of this country. How thankful we should be that it’s here, exceptionally told.

‘HAMILTON’

>> Where: Blaisdell Concert Hall

>> When: Through Jan. 29

>> Tickets: $39-$229

>> Information: ticketmaster.com