angelica sound

A John Laurens aesthetic that I made awhile ago :P

hamilton characters as memes
  • Alexander Hamilton: "Miley, what's good?"
  • Aaron Burr: "I'm auditioning for the role of US President and I'll be singing 'I'm the Greatest Star'"
  • Marquis de Lafayette: *shoving breadsticks into my purse*
  • John Laurens: "I am gay gay gay I like long big cocks"
  • Hercules Mulligan: "JOHN CENA"
  • Eliza Schuyler: cinnamon roll too good for this world, too pure
  • Peggy Schuyler: *looks at smudged writing on hand*
  • Angelica Schuyler: okay... that sounds fake but okay
  • Thomas Jefferson: kinkshame
  • King George III: ʷʰʸ ᵗʰᵉ fᵘͨᵏ ʸºᵘ ˡʸʸʸ'ⁿ, ʷʰʸ ʸºᵘ ᵃˡʷᵃʸˢ ˡʸʸʸ'ⁿ, ᵐᵐᵐᵐᵐᵐ ºʰ ᵐʸ ᵍºᵈ ˢᵗºp fᵘͨᵏ'ⁿ ˡʸʸʸ'ⁿ
  • Phillip Schuyler: mmmm whatchya sayyyy

connected thoughts i have yet to figure out how to put together into a coherent post:

  • burr and angelica are the only characters to serve as narrators in the show (burr throughout, angelica in it’s quiet uptown). (alexander is technically an exception to this, but he only narrates when burr gives him explicit permission–”i’ll let him tell it.”)
  • burr and angelica are also the only characters to ever address the audience directly as “you” (”are you ready for more yet?” “you see it, right?”). (again, alexander is a possible exception–”that’s true”–but my personal pet theory about that line is still that it’s lmm momentarily breaking character to address the audience.)
  • (satisfied actually is fascinating in the range of–perspectives? addressees?–it has. first verse is external, to alex and eliza (”a toast to the groom…”); the second verse is internal, to alexander (”but alexander, i’ll never forget the first time i saw your face”); the third verse is internal with no direct addressee (though the “you see it, right?” line at least suggests that it’s sung to the audience specifically, rather than the audience implicitly getting a look inside her head. no one sees inside angelica’s head without her permitting/filtering it); it stays that way until the second round of “to the groom!” and then goes back to internal with the final lines.)
  • burr and angelica also split the “every other founding father’s story gets told / every other founding father gets to grow old / and when you’re gone who remembers your name / who keeps your flame who tells your story” line, which is explicitly from a narrator’s point of view.
  • alexander and eliza are so intrinsically tied into the narrative itself (”what is a legacy?” “oh let me be a part of the narrative”) it’s as if burr and angelica, as their respective counterpoints, are somehow outside it

Alright, I need you to imagine something.

I want you to imagine It’s Quiet Uptown.  

Yup, I know.  It hurts.  Do it.

Hear the piano.  Hear it.  Hear Angelica.  Mmmm, Angelica, you sound so great.

Alexander and Eliza standing in the middle of the stage.  Eliza is in her all black dress, and Alexander looks so tired.  He looks lost.  He’s imploring her, and she’s not responding.

And now hear Eliza say, “It’s quiet uptown.”  

And I need you to imagine this.

I need you to imagine Alexander’s face contorting into a sob as he completely loses it.  This is not a little eyebrow furrow, a little subtle sadness.  This is full on weeping, tears streaming down his face.  He hears her voice, and there’s relief and love and so much emotional release.  

And hear the word.  Forgiveness.

And Alexander is sobbing openly on stage, while Eliza looks straight forward, so exhausted, so broken.

Yep, that’s it.  That’s It’s Quiet Uptown.  And if you don’t think I was choking back ugly tears, you are wrong.  

[Angelica Schuyler] actually also corresponded with Jefferson, and it’s actually pretty amazing, cuz Jefferson’s trying to flirt with her and she’s not having it […] He’s like, yo, we should like, take the boat over together, we should go to America together. And Angelica goes, oh, that sounds really nice except there’s, uh, uh, my loyalties lie elsewhere, basically […] she’s like #teamHamilton.