Olympe de Gouge

Kaitlyn is honored to return to the stage with 100A Productions. Past performances with the company include Chick in Crimes of the Heart, Genevieve in The Long Christmas Dinner, and Jessie in Sweat. Previously, she could be seen locally in productions at the Sheldon Vexler Theater, AtticRep, and Trinity University. Memorable roles include Jacqueline in Don’t Dress for Dinner, Catherine in The Foreigner, and Lady Muldoon in The Real Inspector Hound. Kaitlyn currently works as the Director of Program Development at the 80|20 Foundation, helping to create and strengthen pathways for San Antonio youth to thrive in quality jobs.

Marianne Angelle

Jessica, also known as Jess Mahogany, is an award winning theater and film actress, poet and mental health professional who loves creatively inspiring, healing hearts,  and assisting with transcending the constructs of society. She has performed on theater and spoken word stages from the coast of Florida to those of California, and now makes Texas her home for continuing her endeavors. She looks forward to making an impact on the minds of the world with a primary focus on reminding all that it is the people who make the titles,  and not the other way around.

Charlotte Corday

Allie is a native to San Antonio and a graduate of New York University Tisch School of the Arts where she studied Meisner Technique and Classics / Shakespeare. She has performed in various theatres in San Antonio and in local, regional, national commercials and voiceover roles. She is the recipient of the ATAC Globe Award for Lead Actress in a Comedy for her portrayal of Billie in Unnecessary Farce at the Vexler. Allie is returning to the stage after a ten year hiatus to raise her daughter. Allie wishes to thank her husband Josh and daughter Alexandria for their unwavering support and unconditional love. Also many thanks to Rick Frederick, Susanna Morrow and the entire Tobin team for their professionalism and talents.

Marie Antoinette 

Emily is honored to be back on 100A’s stage, where she last appeared as Emily Penrose in The Lifespan of a Fact. An actor since her teens, Emily has been in numerous San Antonio productions. Among her favorite roles are the fast-talking agent Diane in The Little Dog Laughed, Lady Caroline in Enchanted April, and Coco Chanel in the one-woman show No. 5, all at the San Pedro Playhouse, as well as Yelena in Uncle Vanya and Masha in Vanya and Sonia and Masha and Spike at the Classic Theatre.

Director

Susanna Morrow, MFA, PhD is an artist, mother and teacher. She was an associate professor of theatre at Trinity University from 2006-2015. Directing credits at Trinity include “Twelth Night,” “Blood Wedding,” “The Misanthrope,” and “The Laramie Project.” She received her PhD in Theatre from CU Boulder and her MFA in Acting from UC Irvine. She worked professionally as an actor and dancer in the Tony-award winning Utah Shakespeare Festival, Colorado Shakespeare Festival and Shakespeare Orange County. Her local acting credits include Mabel in “Pride’s Crossing” at Trinity University, for which she won an ATAC award. She starred in “Smudge” at Attic Rep, where she met her now husband, Ross Olsaver. They have a beloved daughter and many four-legged beloveds. She most recently directed the Industry Night Reading of Thornton Wilder’s The Long Christmas Dinner. For more information visit susannamorrow.com

Production Designer 

Martha Peñaranda is an Assistant Professor of Theatre at Trinity University.  Martha studied textile design in her native Colombia and attended the scenography program at the Academy of Fine Arts in Florence, Italy. She holds a dual master degree in scene and costume design from Carnegie Mellon University. She was an Assistant Professor at Kenyon College, served on the design faculty at the Art Institute of San Antonio for several years, and collaborated on numerous productions as a guest artist at Centre College. Based in San Antonio, Martha also works as a freelance theatre artist; her designs have appeared in university and professional productions, regionally and abroad, most recently with the Nordisk Teaterlaboratorim in Holstebro, Denmark. Locally, she has designed for productions with AtticRep, Ballet San Antonio, and the North East School of the Arts.

Lighting Designer

Dylan Brainard fell in love with stage managing in 5th grade, which sparked her passion for all aspects of technical theater.  Since moving to Texas 20 years ago, she has enjoyed playing with multiple theaters in town in every capacity imaginable.  Dylan most cherishes the opportunity to serve as Production Manager at The Vexler Theatre for over a decade, working alongside kindred artist Ken Frazier.  She also thanks Bruce Shirky for introducing her to lighting design and for his skies. Dylan is now a freelance technical theater consultant, designer, and director for local theaters and school districts.  She also works in interdisciplinary artistic collaboration with light, glass, and music at Caliente Hot Glass Studio. When not behind the scenes, Dylan can usually be found up in a tree.

Property Master and Set Dressing

Jeremiah is an artist, political caricaturist, actor, voiceover artist, cook, writer, set designer, sound designer, sign painter, musician, and craftsman working in San Antonio. Originally from Lubbock, Texas, Jeremiah moved to Denver, Colorado and received his BA from the Rocky Mountain College of Art + Design. He was a founding member of Rhinoceropolis, a music and art venue in Denver. He moved to San Antonio in 2009, after having lived in New York, Maine, and Austin. He is a founding member of the artist-in-residency program TRANSIT, as well as the AGORA art space, both in San Antonio. Jeremiah has worked at the McNay Art Museum for 14 years as the matting and framing technician. He designed the set for the 100A production of Crimes of the Heart and props for the inaugural production of The 39 Steps. He has designed multiple AtticRep productions, including American Buffalo, God of Carnage, Who’s Afraid of Virginia Woolf, and From the Mhabharata. 

 Sound Designer and Original Arrangements 

Eric graduated from The University of the Incarnate Word in 2014 with a Bachelor’s in Theatre, where he honed his craft both onstage and behind the scenes, acting in numerous plays while composing and designing sound. Now a professional audio engineer and stagehand with the local IATSE union, he brings creativity and technical expertise to every project. In his free time, he writes and records original music and enjoys the company of his three cats. Recently engaged, he looks forward to tying the knot next spring.

Set Construction 

Ed has a long history of set building over the years. Starting in the 90’s, Ed worked on several TV and film productions, transitioning to theatre while living in Ireland. Credits include Donal O’ Kelly’s Farawayan, Dublin 1998, and a production of Brian Friel’s Translations, with the Baltimore Theatre Group, West Cork, 1999. Upon returning to San Francisco, Ed also served as the house carpenter for the Magic Theater, building multiple sets including the construction of Sam Shepard’s The Late Henry Moss in 2000. Ed was also a part of multiple AtticRep productions, including American Buffalo, God of Carnage, Who’s Afraid of Virginia Woolf, and True West. Ed is a residential contractor when not working on theatre gigs. He has built every 100A set so far and designed this season’s two story marvel for The Lifespan of a Fact.

Production Coordinator

Trevor began his entertainment career as an acrobat in the Edmonton Opera’s production of The Mikado in 1991.  He parlayed that experience into an acrobatic and performing career that spanned 23 years and six countries with such acclaimed companies as Dragone Entertainment and Cirque du Soleil.  After retiring from performing full-time, Trevor worked as a Show Manager and Artistic Director in San Diego, California. His show, Cirque Electrique went on to win the IAAPA award for Best Show in 2017.  Trevor is proud to have worked at the Tobin Center in a variety of roles since 2021 and is excited and thankful to be a part of 100A Productions. All of us at the Tobin and 100A are grateful for Trevor’s recent return from his adventure as Company Manager of House of Dancing Water in Macao, China.

Lauren Gunderson is one of the most produced playwrights in America since 2015 topping the list thrice including 2022/23. She is a two-time winner of the Steinberg/ATCA New Play Award for I and You and The Book of Will, the winner of the William Inge Distinguished Achievement in Theatre Award, the Lanford Wilson Award and the Otis Guernsey New Voices Award; a finalist for the Susan Smith Blackburn Prize, Weisberger Award, and John Gassner Award for Playwriting; and a recipient of the Mellon Foundation’s Residency with Marin Theatre Company. She studied Southern Literature and Drama at Emory University, and Dramatic Writing at NYU’s Tisch School where she was a Reynolds Fellow in Social Entrepreneurship. Her play The Catastrophist, about her husband virologist Nathan Wolfe, premiered digitally in January 2021. She co-authored the Miss Bennet plays with Margot Melcon, and The Half-Life of Marie Curie premiered off-Broadway and is now at Audible.com. Her work is published at Bloomsbury (Revolutionary Women: A Lauren Gunderson Anthology, anthropology, I and You), Playscripts (I and You; Exit Pursued By A Bear; The Taming and Toil And Trouble), Dramatists Play Service (The Revolutionists; The Book of Will; Silent Sky; Bauer, Natural Shocks, The Wickhams and Miss Bennet) and Samuel French (Emilie). Her picture book Dr Wonderful: Blast Off to the Moon is available from Two Lions/Amazon. She is the book writer for musicals with Ari Afsar (Jeannette), Dave Stewart and Joss Stone (The Time Traveller’s Wife), Joriah Kwamé (Sinister), Kait Kerrigan and Bree Lowdermilk (Justice and Earthrise), and Kira Stone (Built for This). She is a board member of The Playwrights Foundation. LaurenGunderson.com

 (1748–1793) was a French playwright, political activist, and early feminist who is best known for her work in advocating for women’s rights during the French Revolution. Her most influential work is the Declaration of the Rights of Woman and the Female Citizen (Déclaration des droits de la femme et de la citoyenne), which she wrote in 1791 as a direct response to the Declaration of the Rights of Man and Citizen that was adopted during the Revolution. De Gouges’ life and work have had a lasting impact on the development of feminist thought and the struggle for gender equality.

History and Contributions

1. 1. Early Life and Career: Olympe de Gouges was born as Marie Gouze in Montauban, France. She was married at a young age and became a widow early in her life, which allowed her to support herself through writing. She moved to Paris in the late 1760s, where she began writing plays, pamphlets, and political treatises. She was known for her dramatic works, which often dealt with social issues and criticized the prevailing societal norms, particularly in regard to women’s rights and the treatment of women.
   2. Political Activism: De Gouges became increasingly involved in the political life of revolutionary France. She aligned herself with the radical elements of the Revolution and advocated for the rights of women, including education, marriage reform, and political participation. Her most famous political text, The Declaration of the Rights of Woman and the Female Citizen (1791), argued that women should have the same rights as men, including the right to participate in the political process, own property, and access education. The document is considered one of the earliest and most important feminist texts in history.
   3. The Declaration of the Rights of Woman and the Female Citizen: In this work, de Gouges directly addressed the gender inequalities present in the French Revolution’s foundational documents. She argued that the omission of women from the Declaration of the Rights of Man and Citizen was a grave injustice and called for equal rights for women in terms of civil liberties, legal rights, and political representation. The text includes a series of demands, including the right to divorce, the right to education, and the right for women to hold public office.
   4. Theater and Other Writings: In addition to her political writings, de Gouges wrote numerous plays, including comedies, tragedies, and social dramas. Many of her works focused on the condition of women in society, challenging patriarchal norms and advocating for women’s freedom and autonomy. Her works were often controversial in her time, and she was criticized by conservative elements for her progressive ideas.
   5. Imprisonment and Execution: De Gouges’ outspoken support for the rights of women and her critiques of the revolutionaries, particularly her opposition to the radicalism of the Jacobins, led to her eventual downfall. In 1793, during the Reign of Terror, she was arrested for her political activism and for speaking out against the government. She was tried and found guilty of sedition and was executed by guillotine on November 3, 1793.

Influence and Legacy

1. 1. Early Feminist Thought: Olympe de Gouges is regarded as one of the earliest figures in the feminist movement. Her writings, particularly the Declaration of the Rights of Woman and the Female Citizen, were foundational in articulating the notion that women should have equal rights in all areas of society, including politics, law, and education. Her advocacy for women’s rights was ahead of its time, influencing feminist movements long after her death.
   2. A Vision for Women’s Equality: De Gouges’ work highlighted the idea that women’s rights were not simply about personal freedoms, but about societal reform. Her demand for education for women and her call for women’s involvement in the public sphere were radical at the time, but have had a lasting influence on subsequent generations of feminists.
   3. Continued Relevance: The themes of de Gouges’ writings continue to resonate with feminist movements around the world. Her call for political participation, legal equality, and freedom from patriarchal control remains central to modern discussions of gender equality. Additionally, her ability to use art—particularly theater—as a tool for social commentary paved the way for later writers and activists who would use culture and literature to challenge the status quo.
   4. Rediscovery and Recognition: For many years, de Gouges’ contributions to feminism and politics were largely overlooked, particularly due to her controversial execution and the political climate of the time. However, since the late 20th century, scholars and feminists have increasingly recognized her significance in the history of feminist thought. Her works are now studied for their pioneering ideas about gender equality and civil rights.

Conclusion

Olympe de Gouges was a bold and innovative thinker who used her pen to advocate for social and political change. Despite facing tremendous opposition and being executed for her political beliefs, her legacy as an early feminist and advocate for women’s rights endures. Her work was groundbreaking, and her ideas laid the foundation for future feminist movements and debates about gender equality.

Marianne Angelle is a fictional character in The Revolutionists by Lauren Gunderson, a play set during the French Revolution. Angelle is a Haitian revolutionary, deeply tied to the struggle for freedom and justice in both Haiti and France. Her character is significant because she represents the historically underrepresented voices of Haitian Free Women of Color, a group whose contributions to the revolution have often been left out of the written historical record.

The significance of the lack of written history of Haitian Free Women of Color is central to understanding Marianne Angelle’s character. Historically, these women, who were often of mixed race and had legal freedoms as “free people of color” in the French colony of Saint-Domingue (modern-day Haiti), played vital roles in the Haitian Revolution and the broader fight against colonialism and slavery. However, their stories have been marginalized in mainstream histories, which have typically focused on male leaders or have erased the complex intersection of race, gender, and class in the colonial world.

In The Revolutionists, Gunderson highlights the silences in history, bringing attention to the erasure of women like Angelle, who actively contributed to the revolutions that reshaped both Haiti and France. Marianne Angelle embodies the struggle to ensure that the voices of women, particularly women of color, are not forgotten. Through her character, the play invites audiences to think critically about whose stories are told and whose are overlooked in the grand narratives of revolution, freedom, and equality.

By portraying Angelle as both a witness to and participant in historical events, the play gives life to the forgotten histories of Haitian Free Women of Color, shedding light on their struggles, their contributions, and their enduring impact.

Charlotte Corday (1768–1793) is a significant figure in the history of the French Revolution, best known for her assassination of Jean-Paul Marat, a radical revolutionary and journalist. Her act has been the subject of historical debate, and her life and legacy have been interpreted in various ways. Corday’s assassination of Marat, as well as the circumstances surrounding her death, made her an iconic figure, both as a political martyr and as a symbol of the complexities of revolutionary violence.

Historical Background and Life

1. 1. Early Life: Charlotte Corday was born in 1768 into a well-off, aristocratic family in Normandy, France. Her family was not particularly radical or involved in the revolutionary politics that were sweeping France during the late 18th century. However, Corday grew increasingly disillusioned with the violence and extremism of the Revolution, particularly the actions of the radical Jacobins and their leader, Jean-Paul Marat.
   2. Political Motivation: Corday’s motivation for killing Marat was deeply tied to her opposition to the Reign of Terror and the increasing radicalization of the revolution. Marat, a passionate supporter of the Jacobins and a vocal advocate for revolutionary violence, was seen by many, including Corday, as one of the architects of the Terror. His newspaper, L’Ami du peuple, called for the execution of counter-revolutionaries and painted a picture of France on the brink of collapse, where radical measures were needed to protect the Revolution. Corday, who believed in a more moderate and less violent Revolution, viewed Marat as an obstacle to peace and reform.
   3. Assassination of Jean-Paul Marat: On July 13, 1793, Corday traveled to Paris under the pretense of offering information about counter-revolutionary conspiracies in Normandy. She gained entry to Marat’s home, where he was in a medicinal bath due to a skin condition, and fatally stabbed him with a knife. Marat died almost instantly from the wound.
   4. Trial and Execution: Corday was arrested shortly after the assassination and was quickly tried. She did not attempt to justify her actions with any revolutionary ideals, but rather claimed that she killed Marat to save France from further bloodshed. At her trial, she remained calm and composed, and when asked why she killed Marat, she famously responded that she wanted to “save France from the effects of his mad plans.” Despite her rationale, she was found guilty of murder and sentenced to death by guillotine. She was executed on July 17, 1793, just a few days after killing Marat.

Influence and Legacy

1. 1. Symbol of Counter-Revolutionary Sentiment: Charlotte Corday is often viewed as a counter-revolutionary figure, a woman who took extreme action to oppose the radical direction of the French Revolution. While some of her contemporaries saw her as a hero or martyr who attempted to stop the excesses of the Terror, others viewed her as a traitor to the cause of revolutionary France. Her assassination of Marat was symbolic of the deep divisions within revolutionary France between moderates, radicals, and those who believed in the necessity of extreme measures to safeguard the revolution.
   2. Icon of Female Political Action: Despite her execution, Corday’s act of defiance in killing one of the Revolution’s most notorious figures has made her an iconic figure in the history of female political activism. She was a woman who, in an era when women had limited political power, took bold, violent action in an attempt to influence the course of history. This has inspired numerous debates about women’s roles in political violence and revolution, and her story has been depicted in various art forms, including literature, theater, and visual arts.
   3. Romanticization and Mythologizing: Over time, Corday became the subject of romanticization and mythologizing, particularly in the 19th century. She was portrayed as a martyr for her cause, often depicted as a tragic heroine whose actions were misunderstood. This romantic portrayal contrasts with the more pragmatic and brutal reality of her act—an assassination motivated by personal political conviction rather than the collective needs of the revolution.
   4. Historical Interpretation: Historians have debated the effectiveness and justification of Corday’s assassination of Marat. Some argue that her act was a symbol of the broader political tensions between radical and moderate factions in the revolution. Others critique the idea of using violence to achieve political ends, questioning whether Corday’s act could have contributed to the broader goals of liberty, equality, and fraternity that were central to the revolution’s ideals. Her assassination was arguably a singular, isolated event that did not change the course of the revolution, which would continue to spiral further into violence with the rise of the Reign of Terror under Maximilien Robespierre.
   5. Cultural Impact: Corday’s act and her subsequent execution had a lasting cultural impact, particularly in art and literature. She was immortalized in works by famous artists such as Jean-Jacques Rousseau and Paul Manet, and her assassination of Marat has been the subject of numerous portrayals. One of the most famous representations is Jacques-Louis David’s The Death of Marat (1793), which depicts Marat’s assassination and symbolizes the martyrdom of both Marat and the Revolution itself. Over time, however, Corday’s role as a revolutionary assassin has also become a symbol of the complexities of political violence and the internal conflicts that shape revolutions.
      

Conclusion

Charlotte Corday’s life and actions highlight the tension between revolutionary ideals and the violent extremism that sometimes accompanies them. As the assassin of Jean-Paul Marat, she became a symbol of counter-revolutionary dissent, a woman who acted in opposition to the radical faction of the revolution. Her legacy is complex—while she is often depicted as a tragic heroine or martyr, her assassination was also a stark reminder of the internal divisions within revolutionary France. Her actions raise enduring questions about the use of violence for political purposes, the role of women in revolutions, and the difficult balance between idealism and extremism in times of social upheaval.

Marie Antoinette (1755–1793) is one of the most iconic and controversial figures in French history. She was the Queen of France from 1774 until her downfall during the French Revolution in 1792. Born an Archduchess of Austria, Marie Antoinette’s life and reign are significant due to the political turbulence of the late 18th century, her role in the events leading up to the French Revolution, and the dramatic shift in her legacy from being a symbol of luxury and excess to a martyr of the Revolution.

Early Life and Marriage to Louis XVI

Marie Antoinette was born on November 2, 1755, in Vienna, Austria, to Empress Maria Theresa and Emperor Francis I. She was part of the Habsburg family, one of the most powerful royal houses in Europe. Her marriage to Louis-Auguste, the future Louis XVI of France, was arranged as part of a political alliance between Austria and France, aimed at easing tensions between the two countries. At the age of 14, she left Austria for France and married Louis XVI in 1770, at the age of 15.

Her marriage made her Queen of France in 1774 when Louis XVI ascended to the throne following the death of his grandfather, King Louis XV. Initially, her foreign birth and her Austrian heritage made her unpopular with the French court, where she was viewed as an outsider. Despite this, she was expected to bear heirs to the throne and embody the dignity and authority of the monarchy.

Reign as Queen of France

1. 1. Political Challenges and Criticism: Marie Antoinette faced criticism early in her reign for various reasons, including her foreign birth and lavish lifestyle. France was in financial turmoil in the late 18th century due to wars, including France’s involvement in the American Revolution, which strained the national budget. The French public increasingly resented the extravagant spending at court, and Marie Antoinette, who became known for her luxurious fashion and extravagant parties, became the scapegoat for the nation’s financial crises.
   2. “Let Them Eat Cake” Myth: One of the most enduring myths about Marie Antoinette is the phrase *”Let them eat cake” (or “Qu’ils mangent de la brioche”), attributed to her when told that the French people were starving due to food shortages. There is no historical evidence that she ever uttered this statement, and it is believed to have been a piece of revolutionary propaganda aimed at demonizing her. However, it became emblematic of her perceived indifference to the plight of the poor and her lavish, disconnected lifestyle.
   3. Personal Life: Marie Antoinette was also heavily criticized for her personal life. Her private affairs, especially her relations with her court favorites, were the subject of gossip and scandal. She and Louis XVI were married for many years before having children, which led to public speculation about their marriage. Eventually, they had four children, but their personal relationship, as well as their inability to resolve France’s financial crises, worsened their image among the public.

The French Revolution and Downfall

1. 1. Growing Discontent: By the late 1780s, France was facing a severe economic crisis, with high debt and widespread poverty. The French Revolution, which began in 1789, was fueled by social, economic, and political dissatisfaction. The monarchy, particularly Marie Antoinette and Louis XVI, became the focal point of revolutionary anger. Her extravagant lifestyle and foreign birth were often seen as symbols of everything that was wrong with the monarchy.
   2. The Women’s March on Versailles (1789): In October 1789, during a period of food shortages, a mob of women marched from Paris to Versailles, demanding bread and protesting the king and queen’s lavish lifestyle. The march was a key event in the Revolution, and it resulted in the royal family being forced to return to Paris, effectively ending their reign at Versailles.
   3. Imprisonment and Trial: In 1791, as revolutionary sentiments intensified, the royal family attempted to flee France in what became known as the Flight to Varennes. They were caught and brought back to Paris, marking a turning point in the Revolution. In 1792, the monarchy was abolished, and Louis XVI was executed. Marie Antoinette was imprisoned in the Temple Prison.
      
      In 1793, she was put on trial by the Revolutionary Tribunal, charged with various crimes, including high treason, depleting the national treasury, and even incest with her son (a baseless accusation). The trial was a foregone conclusion, and Marie Antoinette was found guilty and sentenced to death.
   4. Execution: On October 16, 1793, Marie Antoinette was executed by guillotine in the Place de la Concorde in Paris. Her execution marked the culmination of the revolutionaries’ efforts to rid France of its royal family and its monarchy. The queen’s death symbolized the end of the old order and the triumph of revolutionary ideals.

Influence and Legacy

1. 1. Symbol of Royalty and Excess: Marie Antoinette became a symbol of the excesses of the ancien régime, the old monarchy that was overthrown during the Revolution. Her lavish lifestyle, juxtaposed with the poverty and hardship faced by the French people, made her a target of revolutionary propaganda. As the Revolution progressed, her image was used to rally people against the monarchy, with her portrayal as a foreign queen who lived in decadence while the country suffered.
   2. Martyrdom: After her death, the image of Marie Antoinette evolved. In the 19th century, she was often portrayed as a martyr who was unjustly executed, and her tragic fate became a symbol of the dangers of revolutionary extremism. Many writers, artists, and historians began to reinterpret her life and death, emphasizing her dignity and composure during her trial and execution.
   3. Cultural Impact: Marie Antoinette’s legacy has been the subject of countless books, films, and plays, and she remains one of history’s most famous queens. Her life has been depicted in various ways: as a tragic victim, a symbol of excess and privilege, and a misunderstood woman trapped in the political machinations of her time. Notable portrayals include those in the 1938 film Marie Antoinette, directed by W.S. Van Dyke, and Sofia Coppola’s 2006 film Marie Antoinette, which presented a more modern and sympathetic view of the queen.
   4. Re-evaluation: Modern historians have begun to re-evaluate Marie Antoinette’s role in the Revolution. Some argue that while she was indeed a symbol of aristocratic excess, she was also a woman caught in circumstances beyond her control. Her struggles with an unfulfilling marriage, her limited political influence, and her eventual victimization by the Revolution have led to a more nuanced understanding of her character.

Conclusion

Marie Antoinette’s life and death are emblematic of the profound changes that swept France during the late 18th century. Her reign as queen, characterized by extravagance and scandal, contributed to her vilification during the French Revolution, and her execution marked the end of the monarchy in France. However, over time, she has also been remembered as a tragic and misunderstood figure, her story a reflection of the harsh realities of political revolution. Her legacy endures, both as a symbol of royal excess and as a victim of revolutionary fervor.