In the film version of The Sound of Music, the immaculately coiffed Baroness watches in horror as Maria exuberantly overturns a rowboat in her homemade dress. In Les Misérables, Cosette is obedient and passive, while Eponine brawls with her father in the streets.
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Traditionally in musical theater, when two women are points in a love triangle, one of them is sweetly, traditionally feminine and the other rebels moderately and attractively against gender roles. The classic love triangle formula gives us one good woman and one bad woman The Schuyler sisters follow that love triangle formula closely, right up until they don’t. Part of the reason for this confusion - is the musical making a feminist statement? Being horrifically regressive? Are the Schuyler sisters boring? Are they fascinating? - is that their story arc has the structure of a very old and not very feminist musical theater trope: the two-woman love triangle in which one woman is good and the other is bad. Two Gay Matts) opine that "this show is all about the bitches." New York magazine insists that the show’s treatment of its women "invites questions." The New York Times says, "We love, but love, the assertive revolutionary women." Elsewhere in the New Yorker, Hilton Als writes that the Schuyler sisters are the weakest part of the show, calling them "plot points in silk," while YouTube critics Matt Steele and Matt Palmer (a.k.a. In the Wall Street Journal, Peggy Noonan is happy to announce that the Schuyler sisters are "not politically correct" because they are not "forced to adopt the usual modern scattershot bitterness at their plight." In a New Yorker article on the women of Hamilton, Michael Shulman approvingly calls the Schuyler sisters "almost" feminist. No one can quite decide what Hamilton is doing with the Schuyler sisters. And at the play’s conclusion, a somber Aaron Burr sings, "They say Angelica and Eliza were both at his side when he died." Throughout the rest of the show the Schuyler sisters weave in and out of Hamilton’s life, reminding him of the world that exists outside of the policy he’s writing. The sisters meet young Hamilton early in Act I and are both instantly smitten, but perceptive, quick-thinking Angelica decides to encourage Hamilton to pursue sweet, kind Eliza rather than go after him herself.
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