| re: But it's ultimately the right series of setups & payoffs for the protagonist | |
| Last Edit: GrumpyMorningBoy 08:27 pm EDT 07/05/20 | |
| Posted by: GrumpyMorningBoy 08:25 pm EDT 07/05/20 | |
| In reply to: re: But it's ultimately the right series of setups & payoffs for the protagonist - mikem 07:05 pm EDT 07/05/20 | |
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| I've enjoyed this thread a lot too, and it's given me a lot to chew on. Thanks for starting it, Delvino! Singapore, you do make great points that I'll have in mind as I rewatch it. I've always questioned if my own 'loyalty' to Angelica over Eliza was formed more by the performances of the original cast, but I felt the same way with the other casts that I saw. As others have pointed out, I do think that Eliza grows in prominence and, and I really like the center stage treatment she gets in the finale. Her final solo feels like much more than a mere denouement or an epilogue -- it feels like the natural conclusion of the themes that LMM has set up from early on. To explain -- I often feel like "... and this is why we tell the story" full company finales have become an overdone cliche (which is why the end of CAROLINE, OR CHANGE thrilled me so). But HAMILTON earns its final message, if only because it confronts head on the persistent questions about whose stories are told, how they're told, and why. In this sense, I think the idea that Eliza put herself "back in the narrative" is very satisfying. I would argue that her seeming vacancy from the events and focus of Act 1 makes that re-insertion that much more meaningful. - GMB |
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