closes with “Who Lives, Who Dies, Who Tells Your Story,” which provides an answer to the apparently rhetorical question that’s been threaded through the show. Hamilton is dead, killed in a duel by his rival Aaron Burr, and he’s survived by his wife, Eliza, who spends the 50 years after his death guarding his legacy. Up until that point, Burr has served as the musical’s narrator, an awestruck chronicler of his bitter frenemy’s inexplicable success.
Throughout the show, Eliza is the character most concerned with Alexander’s legacy, and questioning whether she even has a place in it. She begs him to “let me be a part of the narrative, in the story you will write one day”—and, after he violates her trust by having an affair and disgraces her by making it public, decides that she’s taking herself out of the story altogether, striking back by destroying the thing she knows he values most: his words.
There’s so much packed into that instant, not least the short, sharp shock of it, a sudden cry that pierces the company’s final, for all its scope, is barely equipped to handle. The go-girl feminism of “The Schuyler Sisters” aside , it’s a show in which women are muses and love interests, and occasionally just ballast.
, saying only that it had something to do with “transcendence.” For me, it felt like a way of definitively shifting the focus from story to storyteller, because the show survives Hamilton’s death, but it ends the instant that Eliza dies; she ascends into the light, and the audience plunges into darkness.
Medusa's Children got published a tale of two cities LA and London and getting on stage and telling the naked Truth Medusa's Children got published a freeform dreadhead Black Actor needed contact me please coming soon in October Black History Month in the UK please read it.
Watched it this weekend. Pile of garbage.
Hamilton profited off of slaves. But Douglass gets knocked down?
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