HI! i saw u reblogged the West end hadestown and said you've seen it so i have to ask, thoughts on hades? the character switch when he goes very camp on chant (reprise) threw me for a fucking LOOP. i had been crying beforehand but I was just like desperately holding in my laughter after that. the "young man" up against the door frame? I almost pissed myself. and his legs....
OH MY GOD. OKAY. YES
i'm the wrong person to ask about this because whenever a stage performer turns up the camp to 100, worthwhile questions such as 'is this the best considered acting choice for the character' don't stand a chance. they are completely overshadowed by the gay part of my brain emitting whirring noises. i enjoy it too much to care
but anyway my actual thoughts on zachary's hades are as follows:
i like when hades sucks. i enjoy when he gets to be a melodramatic loser and a villain-y villain, because it makes orpheus managing to get through to him hit much harder for me. so zachary hades with his sleazy attitude and the kind of warped enjoyment he's getting out of playing at being powerful and manipulative fulfilled my every wish. tailored to me specifically
i especially enjoyed his acting when he starts to break down a bit for epic 3, his scared/angry/shaken/lashing out was all delicious
direct quote from the messages i was sending people about the show after i saw it: i will say that he was not very.. idk.. plausible?? in chant 2 convo with orpheus specifically bc he was having too much gay fun strutting around the revolve to sell the lines about keeping a woman lmaooo
also i'm extra sad that we don't have the 'now it thickens on my tongue / now it quickens in my lung / now i'm stricken now i'm stung / it's done already' lines in his kiss the riot any more because they're some of my favourites and i want his gay take on them
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Not me having a bunch of Haven and Hadestown thoughts. Namely Nathan as Orpheus and Audrey as Eurydice.
They fall in love over and over despite themselves.
She reminds him that there's more to the world, and that he can't stay inside his own head/song.
He fights so hard to save her, to change her fate in going into the Barn.
And in the end that is what dooms her.
But still, they start again. And maybe this time, maybe it works out.
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Hades town isn’t a hades/Persephone story. They’re supporting characters in Orpheus and Eurydice’s story
Fair- but there are definitely elements of the ending of Hades and Persephone’s story evident throughout the musical as well as their origin in Epic III.
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Despite the explicit instruction not to, Orpheus looks back. He needs to know if Eurydice will follow him anywhere, and so, he turns- And he finds her standing in place, unmoving.
We, the audience, find this sad for a few reasons:
1. We know there was a time when Eurydice would have followed him to the ends of the earth and straight into hell- but now, she watches Orpheus ascend to heaven alone. We know there was a time when she would have followed. We know what has changed between the then and the now.
2. Orpheus does not know what has changed. Orpheus does not know Eurydice stays because of how badly she loves. Orpheus thinks Eurydice has stayed behind because she does not love him enough.
3. Eurydice thinks the same thing. We know this, but we cannot tell them. They have both gone to places we cannot go.
4. By looking back, Orpheus has doomed them both, thinking he was saving them. If given the chance, he would do it again.
5. At some point, Orpheus believed the world was good, and Eurydice believed the world was evil. At some point, their love was powerful enough to change each other's minds.
6. Now, both see what the world could be. Orpheus reveres it. Eurydice fears it. Both are wrong. We don't know if their love can become powerful enough to change their minds again.
7. Eurydice does not follow, but she waits to see if Orpheus will turn around again. She cannot resist one last look.
8. We, the audience, know what has happened, and we know why- Orpheus and Eurydice are not gods. Their mistakes are human. We watch the scene again and again, denying what has transpired, longing for a deeper reason- coffees, lies, a higher power- but the story of Orpheus and Eurydice plays out the way it always does, for the reason it always has- love.
9. These two know the story of Orpheus and Eurydice well. Perhaps they watched it play out. Perhaps they greeted Eurydice at death's door. Perhaps they sat in a tavern and heard Orpheus play. Aziraphale thinks the story is about the inevitably of fate, the inability to resist the higher-ups- a god's will is ineffable. Crowley thinks the story is about the inevitably of leaving, the inability to have a happy ending- a god is always cruel. Neither have gotten this story quite right.
10. Once again, Aziraphale and Crowley have forgotten to focus on the love.
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I saw "Hadestown" a while ago and found it pretty fun, especially because while it is a retelling of the Orpheus and Eurydice myth, it is also doing its own thing. It sets the story in a company town and presents a Hades in his aspect as the god of wealth. Though, it's not always clear in "Hadestown" what is figurative and what is literal. It plays with that mythological line a lot.
Hades is a wealthy businessman who owns mines and factories, which exhaust and trap (and presumably kill) the workers, a "god" among men, and Eurydice comes to work for him out of desperation. She doesn't actually die in this story... uh, I'm pretty sure. You can interpret the musical's ending a lot of different ways, I suppose. But when Eurydice first ends up in "the Underworld", in Hades' clutches, and signs a work contract to survive, her "death" is figurative.
So, when Orpheus comes to retrieve Eurydice, "Hadestown" is presenting us with a version of the story in which Eurydice can actually get away. She's not trapped by something as inescapable as death. When Orpheus appeals to Hades' love for Persephone and convinces this "god" to release Eurydice, I was watching the couple walk away together and thinking to myself, "What if they made it? What if they get to live together this time?"
I knew they wouldn't.
It still hurt.
And it later occured to me that a happy ending would betray not only the original myth, but also betray the new story that "Hadestown" presents to us.
"Hadestown" is a story concerned with poverty, with the fear of starvation and freezing to death, with the labor and rights of workers, with the oppressive power of wealth, with the selfishness of the rich. It's not subtle about it. At all. Hades is here as a figurative god of death, but he is very much present in his aspect as a god of wealth.
Hades releases Eurydice, but makes it conditional, because while Orpheus' song has softened him, he immediately becomes worried that this kindness makes him look weak and will set a bad example for all of his other workers. He doesn't want other workers to try for freedom or for other people to believe his workers can be set free. He curses Orpheus with doubt in order to make him look back.
Personally, I thought that the ending became a little messy, regarding what was figurative and what was literal. It fell back more into mythology, with how arbitrary Hades' condition is and how looking back automatically took Eurydice away. But I still liked it. Musical theatre is very well suited to that kind of blurriness in its lines.
If Orpheus had suceeded in saving Eurydice in this version, then the story would be saying that you can have your happy ending if you just work hard enough for it, if you're special enough, if you believe in yourself. The story would be saying: Orpheus' beautiful voice convinced a powerful, wealthy man that he and Eurydice were unique, that their love story was different, that their tragedy was unfair, and that they shouldn't be treated like the other poor workers. You just have to sing the right pretty song and people will listen to you out of the goodness of their hearts.
It's kind of what a modern audience expects: the heroes will succeed. They will succeed because they worked hard and they were special. The fact that Orpheus fails here too, even though Eurydice wasn't dead in this story, feels like a song getting stuck in your head because the ending is missing. It feels wrong. It's upsetting.
It made me think about how their ending was unfair. It made me think that their tragedy shouldn't have happened. That they could have been happy if only Hades hadn't taken advantage of Eurydice's poverty, if he wasn't so cruel to his exploited workers who create his wealth, if he didn't hoard his wealth instead of sharing it around, and if the wealth hadn't been allowed to go to one person in the first place. Orpheus and Eurydice were not without flaws, sure, but they were ordinary people just trying to make their way in the world. The "don't look back" condition is so arbitrary and unfair and disrespectful.
Everything happened at the unkind whims of a wealthy businessman who was scared of looking weak and losing power. It's not fair and it's all Hades' fault.
To me, though they tell you from the beginning that this is a tragedy, it seemed like "Hadestown" wanted you to think, "Maybe Orpheus and Eurydice will make it this time," and then wanted you to feel let down when they didn't. And maybe then wanted you to think to yourself, "As long as this same story keeps happening, they're never going to make it. Maybe there shouldn't be gods of wealth putting conditions on freedom, and deciding who lives and who dies. It's not fair."
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