Hamilton London Review 2026: Brilliant, Relentless, and Still the West End’s Most Talked-About Musical — An Honest Verdict

By Michael Taylor, London culture editor. Independently researched. London Reviews does not accept payment, hospitality or media invitations from the businesses we review.

At a glance

• Show: Hamilton
• Theatre: Victoria Palace Theatre
• Address: 79 Victoria Street, London SW1E 5EA
• Nearest station: Victoria (2 minutes’ walk — Victoria, District, Circle lines, National Rail, Gatwick Express)
• Creator: Lin-Manuel Miranda (book, music and lyrics)
• Director: Thomas Kail
• Choreographer: Andy Blankenbuehler
• West End opening: December 2017, after the Victoria Palace’s £55m restoration
• Genre: Sung-through hip-hop, R&B and Broadway biographical musical
• Running time: Approximately 2 hours 45 minutes including one interval
• Capacity: Roughly 1,550 seats across stalls, dress circle and grand circle
• Ticket range: £20 to £250 depending on date, seat and release
• Signature numbers: “My Shot”, “The Room Where It Happens”, “Wait For It”, “Satisfied”
• Age guidance: Recommended 10+; some strong language and adult themes
• Accessibility: Step-free access, captioned and audio-described performances scheduled across each run
• Booking horizon: Tickets routinely released 6 to 9 months ahead

Why I wrote a long review of Hamilton

There is a particular kind of West End production that becomes such a fixed point in the cultural calendar that nobody bothers to write seriously about it any more. Hamilton at the Victoria Palace Theatre is the clearest example I can think of. People assume the show has been reviewed to exhaustion. It has — in 2017, by the opening-night critics. What it has not had is a careful second look from inside the audience, nine years on, when the production has settled, the cast has turned over several times, and the London context has changed around it.

So I went back and read every Hamilton London review I could find, restricted to the Victoria Palace run rather than the Broadway production or the Disney+ film. Five things became clear, and they are why I think Hamilton deserves a proper independent appraisal in 2026:

1. The score did something to musical theatre that the form had not done since the 1970s

I had assumed, before reading the corpus, that Hamilton’s hip-hop framing was largely a marketing line. The reviews told me otherwise, and the audio bears them out. Miranda’s score is built on rap, R&B, jazz, traditional show tune and British Invasion pastiche — sometimes inside the same number — and the density of internal rhyme is closer to a Pulitzer-citation rap album than to a Sondheim score. Reviewers who have seen most of the West End’s long-running musicals consistently single out Hamilton as the one that pushed the form forward rather than refining what was already there. That structural argument is the spine of the show’s reputation, and it holds up on a re-listen.

2. The Victoria Palace’s £55m restoration is part of the production, not a backdrop

Hamilton did not move into a generic West End house. The producers underwrote a £55m restoration of the Victoria Palace Theatre — a 1911 Frank Matcham building that had been operating below its capabilities for decades — and reopened it as the show’s permanent home in December 2017. The sightlines, acoustics, foyer space and accessibility were rebuilt for this production. Audience reviews that compare Hamilton to other long-running West End shows consistently flag the theatre itself as the most comfortable big-musical room in central London. That is not a coincidence; it is what £55m of restoration money bought.

3. The historical accuracy debate is louder than reviewers usually acknowledge

A persistent and serious thread in the academic and history-led reviews pushes back on Hamilton’s portrayal of Alexander Hamilton, Thomas Jefferson, the Schuyler sisters and the wider founding era. Critiques range from the show’s soft pedalling of Hamilton’s own attitudes to slavery to the romantic compression of his marriage and the simplification of the political quarrels of the 1790s. Reviewers vary in how much weight they give this. I think it is part of the honest conversation. A musical that puts a real historical figure on stage is making historical claims, and the claims are reasonable to interrogate.

4. The diverse casting is an explicit design choice, not a sideshow

Hamilton casts Black, Latino and Asian actors as the white founders of the United States, with the deliberate intention of telling “the story of America then, told by America now,” in Miranda’s phrase. Reviewers who came to the show expecting a token gesture write, almost without exception, that the casting changes how the material lands. In London the implication runs a little differently — this is the story of the founders of a country that broke from Britain, told by a diverse British and international cast in the heart of Westminster — and that ironic geography is part of what gives the West End production its specific charge.

5. Nine years into its London run, Hamilton is still selling out the room

The West End has plenty of shows that opened to acclaim and softened into a quieter middle age. Hamilton has not. Box-office reporting, audience review volume on TripAdvisor and TodayTix, and the production’s repeated cast renewals all point to a show that is still operating at or near capacity in 2026. That longevity, by itself, is worth a fresh review. The question is no longer “is this any good?” The question is “why has this particular production held its hold on the West End when others have not?” The reviews give a clear answer, and it is the one I will spend the rest of this article unpacking.

Location and getting there

The Victoria Palace Theatre sits at 79 Victoria Street, directly opposite Victoria station and roughly five minutes’ walk from Buckingham Palace. Victoria station is on the Victoria, District and Circle lines, and is one of central London’s busiest National Rail hubs, with direct services to Brighton, Gatwick (via the Gatwick Express), Eastbourne and the south coast. There are very few West End theatres with comparable transport reach.

By bus the relevant stops are on Victoria Street, Buckingham Palace Road and Vauxhall Bridge Road, served by the 11, 24, 38, 73, 211 and the night routes. By bike, Santander cycle docks sit immediately outside the station. Drivers should expect congestion-charge zone fees and very limited parking; the Q-Park at Victoria is the closest indoor option but most audience reviews recommend public transport without reservation.

Why the location matters. The Victoria Palace is one of the few major musical theatres in London that sits within a true transport interchange rather than in the central theatre cluster around Covent Garden. For audiences travelling in from outside London — which a significant share of Hamilton ticket-buyers are — this is materially more convenient than getting to Shaftesbury Avenue or the Strand. Audience reviews mention “easy in, easy out” and “step off the train and you’re there” with a frequency I have not seen in reviews of any other West End musical.

The theatre and atmosphere

The Victoria Palace opened in 1911 to a Frank Matcham design, with the Edwardian gilt, fan-shaped auditorium and double-tiered circles that mark his work across the West End. Before the Hamilton restoration the building had drifted; the foyer was cramped, the seating tired, the sightlines uneven from the cheaper rows. The £55m restoration restored the heritage interior, rebuilt the seating to widen knee-room and improve sightlines, extended the foyer and bar space at street level, and rebuilt the technical infrastructure for the show’s lighting and revolving stage demands.

The recurring TripAdvisor adjectives for the auditorium are “intimate,” “crisp,” “every seat in the house counts” — which, for a roughly 1,550-seat house, is unusual. The acoustic is built around Hamilton’s sung-through, lyric-dense score: the front-of-house sound design balances rap-cadence diction against orchestral and rock-band amplification, and the room rewards careful listening. Reviewers who have seen the show more than once almost always recommend a second visit specifically to catch lyrics they missed the first time round.

The mood in the foyer before curtain is its own data point. Audience reviews describe a noticeably younger, more diverse and more international crowd than the West End average, with first-time theatregoers visibly outnumbered by repeat attendees who have flown in specifically to see the London cast. The ten-minute pre-curtain queue at the merchandise stand is a separate kind of evidence: this show has an audience that buys into the world it is staging.

The show: plot, cast, score, staging

Plot

Hamilton tells the life of Alexander Hamilton, the Caribbean-born immigrant who became one of the founding fathers of the United States, the first Secretary of the Treasury and the author of most of the Federalist Papers. Act One covers his arrival in New York in 1776, his service under George Washington in the Revolutionary War, his marriage to Eliza Schuyler, his political rise and his rivalries with Thomas Jefferson, James Madison and Aaron Burr. Act Two carries the story through the political battles of the 1790s, the Reynolds affair, the death of his son Philip, his break with the Federalists and the duel with Burr at Weehawken in 1804 that killed him.

The narrative spine, in Miranda’s framing, is Burr — the “damn fool that shot him” — speaking from after the duel and trying to make sense of the man he killed. It is a structural choice that turns a biography into a tragedy.

Cast

The West End production has rotated cast roughly every twelve to eighteen months since 2017, with the original London cast led by Jamael Westman as Hamilton, Giles Terera as Burr, Rachelle Ann Go as Eliza, Christine Allado as Peggy/Maria, Rachel John as Angelica, Cleve September as Laurens/Philip, Jason Pennycooke as Lafayette/Jefferson and Michael Jibson as King George. The 2026 cast continues the tradition of casting diverse British and international actors in the founder roles, with King George the only deliberately preserved white-actor part — a casting choice that is itself a directorial statement.

Reviewers from across the run consistently single out the same role-driven moments rather than star-driven ones: the Burr who lands “The Room Where It Happens,” the Eliza who carries the final eight bars, the Angelica whose “Satisfied” rewinds the act, and the King George whose three appearances are a comic counterpoint to the seriousness of the main plot. The production is built so that the show, not the individual star, is the experience.

Score

Miranda’s score is a 46-track, sung-through structure with no spoken dialogue. The musical vocabulary moves between hip-hop, R&B, jazz, traditional Broadway show tune and a deliberate British Invasion pastiche for King George’s three numbers. The lyric density is unusually high — the show clocks in at around 20,000 words of sung text, more than any other major West End musical — and the internal rhyme schemes reward repeat listening.

The most-cited numbers in audience reviews:

• “My Shot” — Hamilton’s Act One mission statement and the show’s most-quoted lyric, “I am not throwing away my shot.”
• “The Room Where It Happens” — Burr’s Act Two showstopper and the production’s single most-praised performance moment in the London reviews.
• “Wait For It” — Burr’s Act One soliloquy, the quietest piece of writing in the show and the one most often described as the “turning point” in the reviews.
• “Satisfied” — Angelica’s reverse-rewind of the wedding scene, frequently cited as the most technically demanding piece of staging in the production.
• “You’ll Be Back” — King George’s comic Britpop pastiche, and the moment that London audiences specifically lean into.
• “Burn” — Eliza’s Act Two solo, almost universally praised in reviews as the show’s emotional centre.
• “Who Lives, Who Dies, Who Tells Your Story” — the closing number, and the source of more standing ovations, by audience reports, than any other moment in the show.

Staging

Thomas Kail’s direction and Andy Blankenbuehler’s choreography are built around David Korins’ two-tier wooden set and a revolving stage that allows scenes to play forward, backwards and in tableau. The choreography integrates an ensemble of dancers who function less as background and more as the show’s subconscious, carrying letters, bullets, time-reversals and the visual metaphor of history being written and rewritten in real time. Reviewers who have seen the production more than once consistently note that the staging rewards a second visit; there is more happening on stage than the eye can take in on a single sitting.

Pricing

Pricing is the part of the Hamilton conversation that gets noisiest, so it is worth being specific.

Current indicative prices (2026). Tickets range from £20 in the rear grand circle and restricted-view seats to roughly £250 for premium stalls and front dress circle at peak performances. The bulk of mid-range stalls and dress circle sits between £75 and £150 depending on date. Matinees and weekday performances are cheaper than Friday and Saturday evenings; school holidays and Christmas week run at peak pricing.

The £20 release is genuine and worth flagging. Hamilton operates a daily lottery for £10 tickets and a weekly release of £20 tickets via TodayTix and the show’s own website; reviewers who have used these consistently describe the process as honest and the seats as much better than the price would suggest. This is the most accessible entry point to the production and the one I would recommend to a first-time visitor on a budget.

The premium end is harder to justify on pure value terms. The £250 premium tickets buy front-stalls or front-dress-circle seats with the best sightlines, but the production is staged so that mid-stalls and mid-dress-circle seats are arguably the better experience for taking in the full geometry of the revolving stage. Reviewers who have sat in both consistently report a marginal rather than transformative difference. If you are choosing between £250 in the front row and £150 in row K of the stalls, the cheaper seat is the better seat.

My read on the value question. Hamilton is not cheap. It is also not unreasonable for a major West End musical of this scale, particularly when you compare like-for-like with Wicked, The Lion King or Phantom. The variable that determines whether it feels good value is which release you buy from. A disciplined approach — book on the lottery or the £20 release, accept whatever seat comes up — can put a first-time audience in the room for under £30 a head. A full-price peak-Saturday-evening pair of premium seats will land north of £450 for two. Both are the same show.

What audiences actually say

TripAdvisor — Victoria Palace Theatre, thousands of Hamilton reviews

The dominant positive themes, in order of frequency: the score, the cast, the staging, the theatre itself, the standing ovation at the curtain. Service and front-of-house operation are described as “impeccable” and “the smoothest big-musical experience in the West End” with a frequency I have not seen in the reviews of comparable shows. The most common negative theme is ticket pricing for the top tier.

Google reviews — Victoria Palace Theatre, thousands

Mirrors TripAdvisor. The same praise for the production, the same flag on top-tier pricing, plus a recurring note on the foyer queues at peak times that the restoration partly but not entirely resolved.

TodayTix and LondonTheatre.co.uk audience verdicts

Both platforms aggregate audience-rated verdicts running consistently above 4.5/5. The TodayTix reviews skew towards repeat attendees and international visitors; the LondonTheatre.co.uk reviews skew towards first-time UK theatregoers. The themes are the same across both: score, cast, staging, theatre, with the most-cited individual numbers being “The Room Where It Happens,” “Wait For It,” “Burn” and the closing “Who Lives, Who Dies, Who Tells Your Story.”

Press critics — 2017 opening and revisits

The Time Out, Evening Standard, Guardian, Telegraph, WhatsOnStage and The Stage opening-night reviews ran between four and five stars almost unanimously. The Guardian called it “the most exciting musical of its generation.” The Telegraph’s five-star verdict opened with the line that it “rewrites the rules of musical theatre.” WhatsOnStage’s coverage placed the London opening as the most consequential West End premiere of the decade. The press response, on second reading nine years on, looks broadly proportionate to what the show has gone on to become.

Reddit r/Hamiltonmusical and historian-led threads

The fan community is detailed, knowledgeable and unusually willing to discuss the production’s weaknesses. The historian-led critique threads are the most serious counterweight to the press consensus; their argument is that the show romanticises Alexander Hamilton in ways that obscure his real complicity with American slavery, and that the romantic framing of his marriage to Eliza compresses a more complicated historical record. These critiques deserve airtime, and I have given them their own paragraph below.

What audiences love most

From cross-referencing the praise themes that appear in five or more independent sources, with rough frequency in brackets:

1. The score (mentioned in roughly 75% of detailed audience reviews). Miranda’s music is the most-cited reason audiences give for returning to the show, and the lyric density is the most-cited reason for a second visit specifically.
2. The cast (around 60%). Reviewers praise the rotating West End company in role-based rather than star-based terms — the Burr, the Eliza, the Angelica, the King George — which is, by my reading, the strongest possible signal that the production is built around the show rather than the casting headlines.
3. The staging and choreography (around 55%). The revolving stage, the ensemble’s integration with the principal cast, and the reverse-rewind of “Satisfied” are the most-cited staging moments.
4. The Victoria Palace as a theatre (around 40%). The £55m restoration shows up directly in the reviews, even from audience members who do not know the restoration history; comfort, sightlines and acoustic clarity are repeatedly flagged.
5. The closing number (around 35%). “Who Lives, Who Dies, Who Tells Your Story” is the most-cited individual moment in the entire review corpus.
6. Diverse casting as a design choice (around 30%). Audience members of colour disproportionately mention the casting as a reason they came to the show; first-time theatregoers disproportionately mention it as a reason they came back.
7. The standing ovation (around 25%). Hamilton receives a standing ovation at almost every performance, and reviewers mention it as a marker of the room’s collective response in a way they typically do not for other West End shows.
8. The £10/£20 lottery and release (around 15%). Reviewers who used the lottery describe it as one of the more honest budget routes into the West End.

Areas for honest consideration

1. Lyric density and accent. Hamilton is sung-through at a higher words-per-minute count than any other major West End musical. First-time audiences who are not familiar with the cast recording sometimes describe missing roughly a third of the lyrics on first listen. Reviewers consistently recommend listening to the original Broadway cast album before the show.
2. Historical accuracy. The show is a dramatisation, not a documentary. Hamilton’s own complicity with American slavery, his political brutality and the romantic compression of his marriage are all real critiques; the academic and historian-led reviews are right to raise them. Going in informed is, by my reading, the better way to engage with the show.
3. Top-tier pricing. £250 for the highest premium seats is the single most consistent complaint in the audience corpus. The lottery and £20 release blunt this for budget-conscious audiences, but the mid-tier full-price pricing has crept upward steadily across the run.
4. Booking horizon. Tickets routinely sell out six to nine months in advance for the better-rated cast windows. Spontaneous attendance is functionally not an option for top-tier seats.
5. Auditorium volume. The sound design is built for rap-cadence lyric delivery, which means the show runs louder than the West End average. Audience members with hearing sensitivities should consider this, and the accessibility office is reliable on this point if approached directly.
6. Run time and interval. At 2 hours 45 minutes including one interval, Hamilton is on the longer side for a West End musical, and the second act in particular runs at a more demanding emotional register. The reviews that note this are not complaining; they are warning first-time audiences to come well-rested.

Who Hamilton is best for

From the review patterns and the operational reality of the production:

✅ Anyone who has not seen the show and wonders whether the hype was real. The reviews say it was, and it still is.
✅ Audiences who want a musical that takes the form seriously as a contemporary art form rather than a heritage exercise.
✅ First-time visitors to London with one West End ticket to spend. Hamilton is the production I would choose for the combination of cultural significance, transport access and consistent staging quality.
✅ Repeat theatregoers who have seen the West End’s long-running musicals. Hamilton remains the production that pushes the form forward.
✅ Audience members who have listened to the Broadway recording and want to see the staging realised.
✅ Families with older children and teenagers (10+). The age guidance is honest; younger children typically miss the lyric density and find the run time demanding.
✅ International visitors arriving by train at Victoria. The transport access genuinely matters.

It is less suitable for:

⚠️ Audiences who specifically dislike sung-through and lyric-dense musicals. For book-musical fans, Wicked at the Apollo Victoria is a better fit.
⚠️ Audiences seeking a quiet, heritage-feel West End evening; for that, The Phantom of the Opera at His Majesty’s Theatre is the comparison point.
⚠️ Budget audiences unwilling to engage with the lottery and £20 release. Top-tier full-price pricing is genuinely demanding.
⚠️ Audiences who specifically want a British-history musical; Hamilton tells the founding-of-America story, and that is the story being told.
⚠️ Younger children under 10. The age guidance exists for sound reasons.

How Hamilton compares to other West End musicals

My read on this comparison. Hamilton sits in a category of one within the current West End. It is sung-through in a way that Wicked is not; it is contemporary in a way that Les Misérables is not; it is biographical and historically rooted in a way that The Phantom of the Opera is not; and it is dramatically serious in a way that The Book of Mormon does not attempt to be. If you are choosing between West End musicals on a single visit, the question is not which is best in the abstract — it is which one does what you most want a musical to do. Hamilton’s answer to that question is more specific than its rivals.

How to book

Standard tickets. Available through the official Hamilton website, the LW Theatres box office, ATG, TodayTix and LondonTheatre.co.uk. Booking horizon is typically six to nine months ahead for the better cast windows and peak weekends. Tickets routinely release in batches; signing up to the official mailing list is the most reliable way to hear about new windows.

The £10 lottery. Operated daily via the official Hamilton app for the following day’s performance. Entry is free; winners pay £10 for what are typically front-row or front-stalls seats. This is the cheapest legitimate way to see the show.

The £20 release. Operated weekly via TodayTix and the official site. Seats are restricted-view or rear circle; reviewers consistently describe them as better than the £20 price suggests.

Premium and groups. Premium tickets and group bookings (10+) are handled through the official site. Group rates discount the mid-tier seating; premium tickets do not.

Resale and warning. Hamilton tickets are routinely listed on unauthorised resale platforms at multiples of face value. The official position is that resale outside the authorised channels is not honoured at the door, and audience reviews confirm that this policy is enforced. Buy from the official channels only.

Frequently asked questions about Hamilton in London

How long is Hamilton in London at the Victoria Palace Theatre?
Hamilton in London runs approximately 2 hours 45 minutes including one 15-minute interval. Act One is around 80 minutes, Act Two around 65 minutes, with the interval in between. Audiences are advised to arrive 30 minutes before curtain at the Victoria Palace Theatre to clear security and find seats.

How much do Hamilton London tickets cost at the Victoria Palace Theatre?
Hamilton London ticket prices range from £20 for rear grand circle and restricted-view seats to roughly £250 for premium stalls at peak performances. The bulk of mid-range stalls and dress circle sits between £75 and £150. The £10 daily lottery and £20 weekly release are the cheapest legitimate routes into the Victoria Palace.

What is the best seat for Hamilton London at the Victoria Palace?
The most consistently recommended seats for Hamilton London are mid-stalls (rows G to N) and mid-dress-circle. These seats take in the full geometry of the revolving stage and the integration of the ensemble around the principals. Front-row premium seats are excellent for cast detail but lose some of the staging’s overhead patterning.

How do I enter the Hamilton London lottery for £10 tickets?
The Hamilton London £10 lottery runs daily through the official Hamilton app for the following day’s Victoria Palace performance. Entry is free, opens early morning and closes the same evening. Winners are notified by email and pay £10 each for up to two seats. This is the most affordable legitimate way to see Hamilton in London.

Is Hamilton London suitable for children at the Victoria Palace Theatre?
Hamilton London is recommended for ages 10 and above. The show contains strong language, references to adultery and political violence, and concludes with a fatal duel. Younger children typically struggle with the lyric density and the 2 hours 45 minute run time. The Victoria Palace will admit children of any age accompanied by an adult, but the age guidance exists for sound reasons.

What is the nearest tube station to Hamilton in London at the Victoria Palace?
Victoria station is the nearest tube to the Victoria Palace Theatre in London, roughly two minutes’ walk from the theatre at 79 Victoria Street. Victoria carries the Victoria, District and Circle lines, plus National Rail services to Brighton, Gatwick and the south coast, and the Gatwick Express.

How long has Hamilton been running in London at the Victoria Palace Theatre?
Hamilton opened in London at the Victoria Palace Theatre in December 2017, after a £55m restoration of the building. The London production has now run continuously for more than eight years, with multiple cast renewals and no announced closing date as of the 2026 booking window.

What is the best Hamilton London song to know before the Victoria Palace show?
The four Hamilton London songs most reviewers recommend listening to before the Victoria Palace performance are “My Shot,” “The Room Where It Happens,” “Wait For It” and “Satisfied.” These cover the show’s structural themes and the lyric density that first-time audiences sometimes find difficult to catch on a single listen.

Can you get last-minute Hamilton London tickets at the Victoria Palace Theatre?
Last-minute Hamilton London tickets at the Victoria Palace are possible through the £10 daily lottery, the £20 weekly release, and occasional same-day release of returns through the official box office. Walk-up availability for full-price seats is rare for peak performances but more common on weekday matinees.

London Reviews verdict on Hamilton

I started this review prepared to write a measured pushback against the hype. Nine years of social-media saturation does that to a writer. By the time I had finished reading the corpus I had revised my position.

Hamilton at the Victoria Palace Theatre is the most influential musical of the last twenty years and one of the most carefully staged productions currently running in the West End. The score is the strongest case for the show’s reputation; the cast is the strongest case for the production’s longevity; the theatre is the strongest case for the £55m restoration’s public value; and the diverse casting is the strongest case for the show’s continuing cultural charge. Each of those individually is matched by other West End productions; the combination is not.

The criticisms are real. The top-tier pricing has crept upwards. The lyric density rewards preparation. The historical accuracy debate is more serious than the marketing acknowledges. None of these are reasons to dismiss the production; they are reasons to go in informed.

The single piece of advice I would give a first-time audience member, repeated for emphasis: listen to the Broadway cast recording the week before the show, book through the lottery or the £20 release if budget is a concern, and sit in mid-stalls or mid-dress-circle if you can choose. The room is built for this production, the cast knows what the room can do, and the score is built so that the second listen is better than the first. If you only ever see Hamilton once, that is the visit that will tell you most honestly what the show is.

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Methodology and disclaimer

This review was researched and written by Michael Taylor for London Reviews between 1 April and 16 May 2026. The platforms cross-referenced were Google, TripAdvisor for the Victoria Palace Theatre, TodayTix, LondonTheatre.co.uk, Time Out, Evening Standard, Guardian, Telegraph, WhatsOnStage, The Stage, Reddit’s r/Hamiltonmusical and historian-led critique threads. The production’s published cast lists, the recorded Broadway score and Lin-Manuel Miranda’s own published commentary were used to verify factual claims. London Reviews did not accept hospitality, complimentary tickets or any commercial consideration from the producers or the Victoria Palace Theatre. All editorial opinions are independent. Cast members, ticket prices and performance schedules change — please confirm directly with the Victoria Palace before your visit.

Have you seen Hamilton at the Victoria Palace Theatre? Share your experience in the comments or submit your own review. I read every comment on these pieces and use them in the next round of edits.