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#(yes that’s jewelle blackman as hades)

finleyforevermore · 4 months

Text

🌟CASTING MY MUTUALS IN HADESTOWN!🌟

Why? Because I feel like it! 😂

Orpheus:

Sequoia (@flowers-floating-in-space, top)

Songbird (@deadboywalking227, middle)

Eden (@songboylyric, bottom)

Nicholas Barasch as Orpheus in the picture. (National Tour)

Reasons for Hibiscus: You give me those ethereal flowery vibes that Orpheus has! /pos

Reasons for Serenade: One of your names is literally Songbird. Nuff said. (Though admittedly the songbird is technically Eurydice in the show, the HT Instagram sometimes refers to Orpheus as a songbird.)

Reasons for Eden: I don't know, you just give me Orpheus vibes- /pos

Eurydice:

Mischa (@that-f-cked-up-bitch, top)

Natalia (@nats-comet, middle)

Ivory (@https-envy, bottom)

Amaya Braganza as Eurydice in the picture. (National Tour)

Reasons for Sydney: I just know you'd be a great Eurydice. How? I don't know! but I do XD

Reasons for Natalia: You have no idea how badly I need a Talia-ified version of "Flowers" and/or "All I've Ever Known". I just know you'd kill it /pos

Reasons for Ivory: You vaguely remind me of her and also I think you'd play up the scrappy/somewhat chaotic aspect of Eurydice's character in a super fun way.

Hermes:

Vellichor (@p-3-t-r-1-ch-0-r)

André de Shields as Hermes in the picture. (Broadway)

Reasons: You are the cryptid, British, and affectionately bloodthirsty (/pos) Hermes that the world needs!

Persephone:

Zeep (@ziipzeepzop-eez)

Jewelle Blackman as Persephone in the picture. (Broadway)

Reasons: You're both altos, and both of you have motherly/wine aunt energy! That's reason enough XD (when a zeep-ified version of "our lady of the underground" is brought into the world, i can die happy)

Hades:

Cipher (@cipher-of-the-round-table)

Phillip Boykin as Hades in the picture. (Broadway)

Reasons: You just give me Hades vibes! I dunno!

The Fates:

Starling (@word-to-the-wise, left)

Charolette (@meowydoe, middle)

Satanic (@satanic-witchcraft, right)

Dominique Kempf, Nyla Watson and Belén Moyano as The Fates in the picture. (National Tour)

Reasons for Piper: I feel like you'd have an absolute blast during When the Chips Are Down. Also a pink-haired Fate? Yes please!!

Reasons for Ginger: You'd be the most fun devious Fate ever (you'd be the one who's always waving at eurydice)

Reasons for Satanic: Satanic-ified version of "Nothing Changes"? Hell. Yes.

158 notes · View notes

druid-for-hire · 5 years

Audio

HADESTOWN, BROADWAY, Apr 25th 2019

Reeve Carney as Orpheus; Eva Noblezada as Eurydice; Amber Gray as Persephone; Patrick Page as Hades; André de Shields as Hermes; Jewelle Blackman, Yvette Gonzales-Nacer, Kay Trinidad as the Fates; Afra Hines, Timothy Hughes, John Krause, Kimberly Marable, Ahmad Simmons as Workers Chorus.

Liam Robinson as Conductor/on piano/accordion; Dana Lyn on violin; Marika Hughes on cello; Michael Chorney on guitar; Brian Drye on trombone/glockenspiel; Robinson Morse on double bass; Ben Perowsky on the drums/percussion.

Notes & lyrics:

(Note: these lyrics are directly transcribed out of the audio and i’m going off my memory, so there may be inaccuracies.)

[Hermes walks out onto the main stage from his station on stage right (our left). Eurydice and Orpheus come out as well from stage left. The Workers are gathered on the platforms on stage right; the Fates are at their station at the bar.]

ORPHEUS What is it?

HERMES Well, the good news is, he said that you can go.

ORPHEUS He did?

WORKERS He did...

HERMES He did. There’s bad news, though.

EURYDICE What is it?

[Hermes takes a seat on stool on center stage from Hades in Hiss Kiss, the Riot. The turntable under him turns very, very slowly. Hermes faces away from them.]

HERMES You can walk, but it won’t be like you planned.

ORPHEUS What do you mean?

EURYDICE Why not?

HERMES Well, you won’t be hand in hand. You won’t be arm in arm, side by side, and all of that. He said you have to walk in front, and she has to walk in back.

ORPHEUS Why--?

HERMES And if you turn around to make sure she’s coming too, then she goes back to Hadestown, and ain’t nothing you can do.

EURYDICE But why--?

[Hermes stands up and faces them.]

HERMES Why build walls? Make folks walk single file?

[He gestures with a pointed finger at the ceiling.]

“Divide and conquer” ‘s what it’s called.

ORPHEUS It’s a trap.

HERMES It’s a trial. Do you trust each other? Do you trust yourselves?

[They nod at each other.]

ORPHEUS & EURYDICE We do.

HERMES Well, listen, brother: if you want to walk out of hell... you’re gonna have to prove it. Before gods, and men. Can you do that?

ORPHEUS & EURYDICE We can.

HERMES ‘Aight, time to go.

[Eurydice walks off stage left; Orpheus approaches Hermes.]

ORPHEUS Mr. Hermes.

HERMES Yes?

ORPHEUS It’s not a trick?

HERMES No. It’s a test.

[The lights turn light blue.]

The meanest dog you will ever meet It ain't the hound dog in the street He bares some teeth and tears some skin but brother, That's the worst of him The dog you really got to dread is the one that howls inside your head It's him whose howling drives men mad

[Orpheus and Eurydice move down to downstage center stage, facing the audience. They stand side by side, not far but not close.]

And a mind to its undoing

[Hermes points at the back of Orpheus’ head.]

ORPHEUS & EURYDICE Wait for me, I’m comin’ Wait, I’m comin’ with you Wait for me, I’m comin’ too, I’m comin’ too.

[They embrace.]

WORKERS Show the way so we can see Show the way the world could be

[They turn to the Workers gathered on the platform on stage left, their skullcaps absent. Persephone steps down onto the main stage.]

If you can do it, so can she If she can do it, so can we

ORPHEUS & EURYDICE Show the way!

WORKERS Show the way the world could be Show the way so we believe We will follow where you lead We will follow if you show the way

[Persephone and Hades step out downstage center stage. The turntable’s rings begin to spin slowly. Orpheus and Eurydice break apart; they hold hands a last time before he walks out of the line of attention to stage right, then riding the turntable’s outer ring. All the Workers and Fates step down and watch.]

PERSEPHONE You think they’ll make it?

HADES I don’t know.

WORKERS Show the way

PERSEPHONE Hades. You let them go.

WORKERS Show the way

HADES I let them try.

PERSEPHONE ... And how ‘bout you and I?

WORKERS Show the way

PERSEPHONE Are we gonna try again?

WORKERS Show the way

HADES ... It’s time for spring. We’ll try again next fall.

PERSEPHONE Wait for me?

HADES I will.

[Hades gives Persephone the flower; they separate. Hades shakes Orpheus’ hands before exiting.]

ORPHEUS & EURYDICE & COMPANY Wait for me, I’m comin’ Wait, I’m comin’ with you Wait for me, I’m comin’ too, I’m comin’ too.

[The lights dim except on center downstage, where Orpheus is slowly walking along the turntable and keeping pace. The lights are a light gold--same as their lanterns. The Fates pass by him as he keeps his head low.]

FATES Who are you? Who do you think you are? Who are you? Who are you to lead her?

Who are you to lead them? Who are you to think that you can hold your head up higher Than your fellow man?

[The light turns sky blue on the main stage. The factory lamps burn dim. The Workers, Hermes, Eurydice, and Persephone all watch him; the Fates move out of the main stage. All but Hermes move in place a stepping march; the turntable picks up a bit of speed.]

HERMES You got a lonesome road to walk And it ain't along the railroad tracks It ain't along the blacktop tar you walked a hundred times before I'll tell you where the real road lies Between your ears, behind your eyes That is the path to paradise And likewise the road to ruin

[The lights pulse and glow, especially the golden factory lamps, in time with the lyrics. Hope touches everyone’s eyes, including Hermes, though he is quiet and resigned.]

ALL Wait for me, I’m comin’ Wait, I’m comin’ with you Wait for me, (Wait, I’m comin’,) I’m comin’ too, I’m comin’ too

[The turntable slows. There’s a moment of awe; the march stops and they reach for him, hopeful.]

Wait for me, I’m comin’ Wait, I’m comin’ with you Wait for me Wait, I’m comin’...

[The turntable returns to speed and the march picks up; Eurydice hops onto the turntable, following behind Orpheus, who already looks nervous.]

WORKERS Show the way

EURYDICE¹ I’m comin’, wait for me

WORKERS Show the way

EURYDICE I hear the walls repeating

WORKERS Show the way

EURYDICE The fallin’ of our feet, and

EURYDICE & WORKERS It sounds like drummin’

[The workers gather onto the center turntable behind Hermes and Persephone.]

WORKERS Show the way

EURYDICE And we are not alone

WORKERS Show the way

EURYDICE I hear the rocks and stones

WORKERS Show the way

EURYDICE & COMPANY Echoin’ our song

(cascading) I’m comin’!

[The center turntable sinks down, bringing the Workers, Hermes, and Persephone out.

All lights turn off; the stage is nearly pitch black.]

¹ When I saw Reeve at the stage door, he mentioned that Eva was recovering from laryngitis at this time.

#audio #hadestown

544 notes · View notes

droughtofapathy · 5 years

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Hadestown Song-By-Song:

Notes: Hadestown is still in previews so things are still changing even now. We won’t have a definitive show until opening night. Even from the first preview to the second there were still changes. But yeah, this show now owns every single dollar I have. Other Broadway shows? What’s that?

Now buckle in, because this is long and I’m just going to give it to you.

Road To Hell I:

· We open on this gorgeous set that’s something akin to an old French balcony café (it’s the green door and iron staircase that really does it) and 1920s speakeasy. The band is onstage and nearly every one of them are the same people from the NYTW days. They have fantastic costumes too. No basic black here.

· The cast casually enters the stage and the applause was deafening both nights. There are five ensemble members and they are all so fucking ripped. Both women in the chorus can probably kill me and that’s totally okay.

· Also, on the first preview night the opening applause lasted 40 fucking seconds. Yes, I timed it. It was amazing, Amber was tearing up, I was almost crying. What a great start. Then, after a long silence, the applause started up again for another fifteen seconds or so.

· Such great opening trombone.

· So there’s been a bunch of significant lyric changes to this song. Hermes now gives the characters, including the “hardest working chorus in the goddamn world”, an official introduction. And there was uproarious applause for every single person.

· When Hermes calls the Fates old women they all simultaneously turn and give him the most attitude-laced look I’ve ever seen. Yes.

· Side note: the Tony Awards needs to create a category for best ensemble because these people are fantastic.

· Persephone has a wicker fan and bag and yeah I’m liking this costume more and more.

· They changed Orpheus’s characterization. He’s much less suave and cool now, and definitely reads on the spectrum. It fits Reeve better, I think. Now Orpheus is a gentle, good-natured bumbling sweetheart who is said to be “a little touched.”

· Eurydice is a firecracker. A jaded bitter little ball of attitude. Eva Noblezada is perfect.

Any Way the Wind Blows:

· I love the original lyrics to this song because it felt like a fantastic prologue. But now it’s more story-centered, and I love it. Eurydice and the Fates (and the Fates have the most beautiful harmonies I’ve heard in a long time).

· The Fates truly are the ones singing in the back of our minds. I love them. They could snap my life thread whenever they want.

· This song establishes more of why Eurydice is so bitter and used to being alone. She’s been fucked over by the weather and by people so much that she’s just fed up.

· Also, the Fates used to be three voice parts (I assume. I’m not an expert at all in this): soprano, mezzo, and alto. But now all three are much lower. I’d have to guess it’s a low mezzo, alto, and contralto because Jewelle Blackman’s voice transcends humanity. It is beautiful and impossible. Like, I know I advocate for Grace McLean as Hades one day, but like…Jewelle Blackman as Hades would be everything I’ve ever wanted.

· Orpheus takes a piece of paper and makes it into a flower, and in the first preview there’s a long moment of silence, but in the second preview Hermes narrates over it so it’s not a big long awkward silence.

· Also all the Fates are women of color in this production and I am in love.

Come Home With Me:

· So Hermes warns Orpheus not to come on to strong, and what is the first thing this idiot boy asks? Come home with me. And it’s fucking hilarious. Especially since he immediately follows up with how he’s going to marry her. Like, boy, calm down.

· Eurydice is decidedly unimpressed and borderline belligerent because she’s had enough of liars and players.

· When Orpheus says how his song will make spring come again, the chorus says the same thing and has a fantastic harmony.

· The plot now has Spring or Fall as something no one’s seen in a long time. It just goes from Winter to Summer because Hades keeps Persephone in the Underworld longer and longer.

· When Eurydice asks “what else you got?” it’s not passive. She’s mocking and aggressive and I love it.

Wedding Song:

· That mocking tone continues in her first verse in this song. She’s like, ‘you think you can change shit? Fucking prove it, bitch.’

· And Orpheus is an awkward noodle who sounds so earnest. In the NYTW version (especially since these songs were cut on the recording, but bless bootlegs) I don’t think we see much of how Orpheus gets Eurydice to fall in love with him. Here her journey is so much more clear. She starts out so skeptical, and goads him into singing his song to impress her.

· The La La La etc. part is now a huge motif. Orpheus sings this angelic medley and literally conjures up a red flower, and that’s how Eurydice starts to fall. She’s just in such awe that a voice could bring something to live.

· Now they’re singing together and it’s really quite cute. Eurydice is totally on board with this romance now.

Epic I:

· The La La La is a melody from long ago. And it comes back in a big way. Spoiler: it’s the song Hades sang to Persephone in the garden.

· Big lyric changes here. The Epics all have gone through major revisions and I’m not sure how to feel. Like this Epic is fine because it’s still in the works, but later…well, I’ll get to it.

Livin’ It Up On Top:

· We’ve now got an anticipation first verse about how everyone’s waiting on Persephone and Spring.

· And Amber just prances down the staircase in a huge fur coat. What a voice. So know how NYTW Persephone is very distinguished? Now she’s a disaster goddess who literally sings about how she’s just “doin’ the best she can.” Which is great.

· Mentions of Demeter. Yes.

· She’s got two bottles of wine and a circular flask and is perpetually adorably tipsy while up on top.

· Great dance break by the ensemble here. Brian Drye on the trombone comes to the center of the stage to play, and it’s a fantastic moment.

· Orpheus’s toast is awkward and earnest. Which is his entire personality to be honest. But when he says “to the world we dream about and the one we live in now” it’s said without any music accompaniment and it’s such a sobering moment the audience murmurs. Also because the entire cast turns to the audience during that point.

All I’ve Ever Known:

· Also Persephone, when she’s not singing, spends her time onstage almost constantly just draping herself on a step and watching the action. It’s a lot like what Hélène does in Great Comet, and Amber is so good at looking casually regal.

· Eurydice has her love epiphany. They both sing, and it’s such a good song. Eva’s delivery is delightfully vulnerable.

· We see the start of Orpheus’s insecurity about how Eurydice could ever love him, leading later to his paranoia as he exits the Underworld. It establishes more of his doubts because Hades preys on his very insecurities. And it’s some good characterization shit right there.

· There’s a very suggestive sensual sex thing going on. And Eurydice is a TOP. We all knew it, but now we’re validated.

· The wind’s never going to change? Think again bitch.

Way Down Hadestown:

· The whistle sounds and the train comes and you can see the pure dread and horror on Persephone’s face.

· And the Fates, these bitches, gleefully tell Persephone to pack and even help her get her suitcase. Persephone is not amused. What icons.

· Okay, so Amber has this amazing choreography here. She’s bent completely in two, and it’s like she has no limbs with the way she fluidly moves. Her spine must be otherworldly. Amber Gray for the Tony.

· Hermes now has a beaded umbrella and does some fantastic dancing with it. It’s huge. The exact extraness we need.

· Persephone now sings the “chromium throne” and all those lyrics with such vehement disgust.

· And here comes Hades. He has fucking those sunglasses. And his “I missed you” line is heavily laced with all of that.

· When Eurydice sings about how she wonders how it feels to have everything, Hades stares right at her over his sunglasses.

· When the floor drops down and Hades and Persephone descend into the underworld it is a beautiful and terrifying moment. For the first preview I sat in the mezzanine so I could look down into that pit and it’s great. Persephone looks near tears.

A Gathering Storm:

· What a great little addition. It establishes how Hades keeps coming sooner and sooner for Persephone and how winter comes faster and fiercer with each passing year.

· Now Eurydice snaps out of the honeymoon phase, and gets to work. You can see how she becomes more and more impatient with Orpheus as he works on a sing while they starve and freeze to death and doesn’t hear her when she calls at all. Eurydice deserves better, damnit.

· The Fates are so ominous here.

Epic II

· More Orpheus song workshop.

· Okay, so. I think Reeve has come a long way since the bootlegs I’ve listened to. The change in characterization really does him a lot of favors. We see more of his struggle to find the right melody.

· The Ensemble enters in their workers uniforms and it’s fantastic costuming. They’re all dressed the same regardless of gender. They have their leather overalls and tool belt, everyone’s head is wrapped, and everyone’s chest is bound. There is no gender down here. Everyone is the same and everyone is dead.

Chant:

· The music turns so fucking ominous. Hades and Persephone are on the middle turntable that elevates while the ensemble chants and surrounds them. And she just stares at these dead souls with a mix of morbid horror and fascination.

· She’s not fucking impressed with Hades and his desire.

· Meanwhile, Orpheus is struggling to find his La La La melody.

· The ensemble moves with perfect synchronization. And the lighting goes all orange and spooky.

· We see more of Eurydice’s futile efforts to keep herself and Orpheus from starving. And clearly Orpheus doesn’t understand the dangers they’re in. He keeps singing, and Hermes even tries to get him to come back to reality because there’s a storm coming and Eurydice is alone, but he’s just stuck in his song.

· The storm catches Eurydice. The Fates are the wind, and they gleefully tear her bag and coat from her and leave her with nothing. She calls to Orpheus with such terror but does he hear? Nope.

· Persephone’s verse now has a nod to the turmoil above and how the earth is in chaos as the oceans rise and temperatures heat up.

· She descends into the underworld alone, and it’s terrifyingly good how Amber can look that angry and scared and resigned all at once.

· Also, when Hades sings his final “think if it as my embrace of you” Persephone is now gone, so he’s staring right at Eurydice. And it’s a moment of blocking genius.

Hey, Little Songbird:

· This song highlights the wonders of Patrick Page’s voice perfectly. It’s basically the same song as NYTW because it was already perfection so why mess with it?

· And after seeing the terrifying storm Eurydice has just been caught with, it’s so understandable why she’d see this promise of a better life enticing. Orpheus is off doing whatever he does. He hasn’t come to help, he hasn’t heard her scream. But Hades has. We see the conflict in Eurydice. She doesn’t want to leave the man she loves, but the vipers and vultures (the Fates! Looking deliciously diabolical) will kill her. And he has a ticket with her name on it.

When The Chips Are Down:

· If ever it was possible to experience an auditory orgasm, it would be with these harmonies. Goddamnit this is a good song.

· This would be a dream role if I had any talent, which I don’t.

· And yeah, Hades was seductive and convincing, but the Fates are the ones who really get Eurydice to make her choice. Which, if these women wanted me to do anything and tried to convince me by singing like this? Yeah, I’d do it without question because I’m a weak lesbian and they’re so fucking good.

Gone, I’m Gone:

· Eva sings deep at one point and it’s so good. And down into the underworld she goes.

· Then the Fates come in and sing right to the audience basically saying ‘you can blame her all you want, but what happens if you’re in her shoes? Yeah, you’d do that too.’

· The line about having principles when you have a bellyful is so damn poignant.

Wait For It:

· Orpheus, this idiot, didn’t even know Eurydice was gone. So when Hermes breaks the news to him he’s devastated.

· And okay. This whole scene is the most visually magnificent thing I’ve seen, possibly in my entire life. There has never been a moment when I’ve been so awestruck by a set change and lighting that my jaw has dropped.

· So, Orpheus starts his long walk down. And the workers have headlights and are armed with those lights that hang from warehouse ceilings. And let me fucking tell you this whole thing is a theatrical masterpiece.

· The Fates stand at the gates and ask who Orpheus thinks he is to do this. But he sings and (yeah, Reeve was fine here) but it’s supposed to be such a beautiful song that the ceiling lifts and the walls literally crack open to reveal the Underworld. And holy shit it’s gorgeous. This is the best set change I’ve ever seen.

· The “ceiling” lifts to reveal the copper pipes and the ominous orange lighting and there’s smoke curling everywhere and holy shit it’s not something that can be described or captured in photo. You need to see this because Bradley King and Rachel Hauck deserve their Tonys right fucking now.

· The ensemble has their lights and they attach them to cables that come down from the ceiling. They take the lights and in perfect synchronism they swing them like pendulums and they move perfectly like physics was made exactly for this moment. And the harmonies as they do this. Yes.

· This scene is so visually gorgeous that there was a fucking forty-second round of applause that shattered the house. Oh my god. Just wow.

Why We Build The Wall:

· Hades is center stage. When the company sings about why they build the wall, it’s sang with such vehement belief in it that it’s terrifying because they’ve _all _been brainwashed by this man to believe it. Even Persephone sings the response with a hopeless sort of defeat. She doesn’t believe a word of this shit but what can she do?

· What a politically appropriate song. And yes, Anais Mitchell wrote this

· Eurydice enters. And suddenly there’s this world that promises her freedom and security. As they sing the final line, everyone has their finger up in some sort of salute that really just turns your stomach, and Eurydice sees it and joins in. Only Persephone, though she sings the words, does not make the sign. Everyone looks so proud and gleeful in their freedom but she’s horrified.

· Then Hades ascends the staircase to his office and Eurydice follows. And Persephone knows what is going to happen but she’s helpless to do anything. And goddamnit the music is ominous.

· We’re left on such a heavy note, but then Persephone turns to us and asks us the real question: anybody wanna drink? And yeah. We fucking need a drink after that.

· Also I should mention, Persephone is now in her black costume which is identical to her other green dress in every detail save for the color. Her hair is now tucked up into a snood, and the flowers are now black.

Act II:

Our Lady of the Underground:

· Intermission just sort of fades out. The band reenters the stage and starts playing as the audience scrambles back into their seats. And it’s such a great song to open up an act.

· Persephone mocks her husband “step into my office” and she’s like two sips from drunk off her ass.

· It’s just her, the band, and Hermes on stage. This is just a song about getting blind drunk to forget the horrors of the world. She’s got her little flask and is chucking that shit all damn day.

· Side note: when she sings about having the wind right here in a jar she grabs her boob and jiggles it and it’s everything the gays want. Then she while she’s dancing up a storm she decides the best way to hold onto her flask is to tuck it in her bra and she gives the audience this playful coy look when she does it.

· The moment she sings about seeing the sky it’s so sobering and she’s on the edge of being devastated again, but then comes the crack in the wall and the alcohol and it’s all okay again.

· And yes, they kept the band introduction and I’m living for it. Everyone is the same from the NYTW days except we lost Jenny Shineman and gained Dana Lyn. But I’m so glad an orchestra is getting their fucking recognition. Deafening applause for everyone of them each night. It’s them who sings the “our lady of the underground” parts.

· They’ve changed “one at a time boys…” to “tell my husband to take his time” and it’s sung in a way where Persephone is trying to make light of her husband’s infidelity by pretending she’s okay with having this time to fuck around, but like she’s still afraid for the poor soul he’s with.

Way Down Hadestown II:

· Eurydice enters now dressed like every other worker. And the Fates order her onto the line. Gone is the enticing promise, and now they give a fuck about any illusion.

· Side note: in the program this and every other song that was once II is now (reprise) and I do not care for that shit at all.

· She joins the line and starts doing the workers’ movements. But now there’s a thing about how none of the workers will look her in the eye, and she’s a little terrified because they’re all just mindlessly working themselves to death.

· The Fates gladly inform her how she’s fucked herself over. The lyrics are now: “but why won’t they look at me? It’s like their eyes don’t see.” instead of “there must be some mistake…” and the Fates answer: “they don’t//it’s easier that way//and your eyes will look like that someday.” It’s a scary moment. That Eurydice, so full of vinegar and life, will become a dried husk.

· She tries to leave, but we visually see how the life begins to drain from her. We see her begin to die.

Flowers:

· This song is heartbreaking. Eva sings it so wonderfully.

· When she sings how she opens her mouth and nothing comes out it’s sung with such despair and terror. And the regret when she sings about how she turned away into the shade.

· She lies down and who should pop up? Orpheus.

Come Home with Me II:

· In the second preview he enters from the audience aisle. He’s all battered from his long long walk.

· So, lyrics: Eurydice says “I called your name” Orpheus: “I know” Eurydice: “you heard?” Orpheus: “no…” And what a good addition.

· This is where the tightening of the show really happens. Orpheus says how he’s going to sing them home again, but there’s no back and forth callback to Come Home With Me I. Instead, Eurydice tells him in a anguished voice that no, he can’t. And he doesn’t get it. And then Hades enters.

Papers:

· What a guy.

· Persephone tries to step in but Hades isn’t having it.

· In a moment of confidence, Orpheus tries to argue, and Eurydice can’t bring herself to tell him what she’s done. How she’s signed her name.

· And it’s a whole thing. Where he asks if it’s true, but oops. It’s fucking true. And this is where Eurydice says “I did…I do.” Which takes out the double marriage acceptance//signed life away meaning, but still. Okay.

· Fight scene is so well-choreographed. Reeve is just tossed around like a hackey sack and the ensemble beats his ass. In the first preview he has a visibly bloody lip that stays for most of the show, but in the second preview it’s toned down and I think it was the right move because it looked pretty ridiculous throughout the whole emotional bits.

Nothing Changes:

· The fighting freezes and the Fates come in to offer their message of ‘give the fuck up cause you ain’t shit’ and wow they just roast this boy. What an ultimate defeatist song.

If It’s True:

· Orpheus starts out echoing the Fates and their defeatism, but then…

· Just before he turns to go…the walls have ears. It’s the workers who hear his song in this production. And suddenly their perfect synchronization is broken as they start to wake up and it’s beautiful. It’s their spark of something that gets Orpheus to stop in his tracks.

· “Brother who are they to say?...Cause the ones who tell the lies…” His entire mood and tune changes. This is a rebellion in the making. Suddenly he turns and asks Hades how the fuck he is to tell the many what is true. It could have been more powerful, I think. And it was better in the second preview.

How Long?:

· So things were changed in this song. Persephone is now much more angry and accusatory. They took out the lines about ‘looking at other girls now and then’ and instead it’s Persephone getting fucking pissed off and saying how Orpheus and Eurydice have the love they once did.

· And Hades at one point tells her to basically calm down and have a drink, which is not the fucking right thing to say my man. She responds by saying she’s “had enough” which is an incredible character development moment because thus far we’ve seen her fucking wasted, but she’s also saying how she’s had enough of everything that’s been going on.

· So when Amber sings “Hades my light” she does the exact same movement she does in Great Comet’s Charming when she sings “oh, how she blushes…” You know, that thing where she bends her knees and extends her arms in presentation. And that is some good shit.

· The song is now less about an old couple trying to reminisce and shit and now about Persephone being fucking done. There’s some good back and forth here. They’re standing opposite on the stage, with the pit between them and a bit of smoke and it’s great blocking.

· The question is how long they can stay married like this. And the answer is: not very.”

Chant II:

· So the platform rises back up and the ensemble workers are surrounding Orpheus asking is it true? They’re no longer mechanically working. There’s a spark of life again, and Hades is not having this.

· So when Patrick Page says “It’s the boy!” he does a great delivery but it kind of sounds a bit Disney villain to me, I don’t know.

· There’s a steam whistle on stage and I want one.

· Now the workers are working, but there’s something different. A recognition of what they’ve become.

· The verses in this song have gone through some big changes. I’d recommend listening instead of me trying to relay.

· But what there is in this song is some fantastic usage of turn tables spinning in different directions. Hades and Persephone stand completely opposite, and as they walk in different directions of the tables they’re stationary. But then there are moments when the pause and are whisked around. And always opposite. Then Persephone sings to Eurydice and they’re opposite because she hops onto the middle turntable and it’s some amazing choreography and blocking here.

· The part in this song marks the first time the chorus sings as individuals. Some of them get solo lines that are echoes of Orpheus and Eurydice “If I raise my head…if I change my voice…” and it’s a sign of them waking up and remembering themselves as individuals. Now they’re out of sync, and they fucking start to question everything. They question the wall and why they can’t even look at each other if they’re supposedly free.

· Persephone is really fucking at her breaking point in this relationship.

· I like the additions of the workers verses because holy shit that’s fucking great. I’m not sure about Hades and Persephone’s verse changes yet. And they’re still being developed I think, because there are some very subtle differences from first preview to second.

· But yeah, the Electric City line is still a jaw-dropping moment. When he sings it, to prove it, the lights all blow out. And it’s great.

· Hermes hands Hades a stool that he dramatically slams down and sits on as he demands Orpheus sing for him,

Epic III:

· Alright, so this is why I’m not sure the lyric changes work. The first preview night, Reeve’s singing didn’t convince me that it would be able to evoke such a viscerally emotional response out of stoic Hades. It was just eh. For the second preview, I don’t know if it was the developed lyrics, or if Reeve just stepped it up and did a better job, but I was more open to believing he could convince the king of the underworld.

· Also, side note: when Orpheus sings his opening line about “Hades is king of the underworld” Hades chuckles and says “oh, it’s about me” and almost preens and both nights the audience can’t handle it and erupts in two rounds of raucous laughter. It’s such comedy gold.

· When Orpheus sings the la la la melody, Hades is ready to kill him right there, but Persephone is not having it.

· The La La La is fully established as the Song Hades Sung to Persephone and suddenly everyone, the chorus, the Fates, Persephone they’re all echoing this symbol of Hades’ forgotten love. And wow. Vocally stunning.

· Here is where Orpheus makes Hades realize that Persephone is one step away from leaving him entirely. And he’ll lose her if he keeps this shit up.

· And Hades tentatively sings is melody, and Persephone is so damn happy about it. She gives him this just soft wistful look and it’s so cute. And and when Hades sings he conjures up a fucking red carnation and what a fucking moment.

· There’s some really adorable dancing between Hades and Persephone to some ethereal orchestration. And they end up embracing and staying like that for a long ass time. Like throughout Promises.

· And yeah, Orpheus breaks the tranquil moment by being a clueless idiot who asks Eurydice what he does now.

Promises:

· They moved Promises up and changed it up so now it’s less the two lovers being scornful about how they haven’t kept their promises and more about how they don’t give a fuck about promises as long as they have each other and a few basic needs.

· They don’t need fair skies, or kind roads. They just need each other.

· And god fucking damnit. Goddamnit. It’s so fucking hopeful, and Eurydice even says the workers can make the journey too, that everyone is filled with anticipation and just for one fucking second you believe that maybe it’ll be alright. Maybe, just fucking maybe, everyone will be okay. And you know it can’t end like that, but damnit if it doesn’t make you believe it.

· But then Orpheus asks if they can go, and Hades says “I don’t know.” And let me tell you, I’ve never seen a woman pull away from a man with such horror and disgust on her face in my life than Persephone in that moment. She practically staggers across the whole stage to get away fast enough.

Word to the Wise:

· And then the Fates come swooping in to offer their two cents. What icons. What a song. Hell fucking yes. What taunting bitches. They’re the real orchestrators of these events, literally.

· And such good voices all converging to bring us a masterpiece we’re unworthy of.

· Question: can the tony award go to all three women? Is that a thing?

His Kiss, the Riot:

· Now Hades has to make a choice. He’s got to do something to keep his wife from never acknowledging his presence again, and he’s got to keep his reputation.

· How does someone sing this deeply? How is this possible?

· He has his little epiphany and shares it with his pal Hermes.

Wait For Me:

· When Hermes relays the news that they can go, everyone is given this little jolt of hope before he rips it away as he lays out the terms.

· And here is where Orpheus is convinced it’s a trap, even though Hermes tells him it’s a trial, not a trick. So they start.

· What a great arrangement of a song. The workers chorus sound so hopeful, so excited to be shown the way the world can be. “If you can do it so can she, if she can do it so can we.”

· And yes, Hades and Persephone will try again next fall. They’ll wait for each other.

· It’s such a triumphant moment, but then the Fates come in and start asking Orpheus who he thinks he is to be able to lead anyone out of anything.

· The turntables are going, and Eurydice is right behind him singing joyously to “wait for me.” It just sounds so beautiful and lifts us up like yes, they can fucking do this. They can do it.

Doubt Comes In:

· But then it grows dark and terrifying, and Eurydice slips out of view. And who should be two steps behind Orpheus? Our favorite Fates.

· These bitches come out of the smoke and darkness with their lanterns and they’re circling and slipping into shadows and turning their lights on and off and whispering into Orpheus’s ear. What diabolical voices. Where is she? They ask and taunt and Orpheus’s La La La melody fades out as he’s overcome with doubt.

· But Eurydice is right fucking there. She’s right fucking there singing about the coldest night. Offering her encouragement even though he can’t hear her. He can’t hear her and that’s why they’re in this fucking mess.

· And yes, it’s a valid paranoia, but come on. Just keep going. Just keep walking, damnit.

· The workers are there too, and they’re all ready to go.

· And as Eurydice sings her last verse, where she sounds so joyous to finally be able to see the sun, Orpheus stumbles up the last few steps to the beacon of light.

· And he fucking turns around. He fucking turns around and the entire audience knows it’s coming because they warned us, but damnit if we don’t all gasp anyway.

· “Orpheus.” “It’s you.” “It’s me” and she says it with such anguish and heartbreak, like yes, ‘it’s me I’m right here, we were right there, we almost made it. All of us,” and then he reaches for her, but she’s on the turntable that drops, and she’s dragged back down to the underworld. And everyone is in tears because they were so fucking close.

Road To Hell II:

· The opening song starts up again, but so much sadder. As if the joy has gone from the world, but it’s time to start up again.

· Such devastation. Such anguish. But we sing it again.

· The lyric changes emphasis how this is very much a circular story that will continue to go around and around forever. We are right back where we started, but we know how it ends. That is how it ends.

· “It’s a sad song. It’s a sad tale. It’s a tragedy. It’s a sad song. But we sing it anyway. Cause here’s the thing. To know how it ends and still to begin to sing it again as if it might turn out this time. I learned that from a friend of mine. See Orpheus was a poor boy…”

· And right then Eurydice reenters asking for a match just like she did in the beginning of the show. Full circle.

· “Oh a sunny day there was a railroad car.” And the turntable rises once more with Persephone in her green dress reclining on the speakeasy tables. Spring is back. Again.

· The lyrics focus more on the old song and how they sing it again and again, and the echoing harmonies are so good.

· They cut out “it’s a tale of a love that never dies…it’s a love song about someone who tries” and instead repeat the again and again.

Bows:

· Standing ovations, deafening applause and cheering. What a fucking great show.

I Raise My Cup:

· The program says nothing about this song, but it’s still fucking here bitches.

· I was skeptical about having it after bows, but not a single person even attempted to leave. The music started, and we all instantly shut up to see what beautiful thing would happen next.

· Everyone has their cup, and Orpheus starts strumming his guitar (which by the way looks a bit too shiny and new to be in character, but sure). Amber does the bulk of the singing, but Eva joins in and the chorus harmonizes and it’s good.

Final notes: This is basically just me talking Tonys and I’m not an expert on anything so don’t take what I say too seriously because I don’t know what the fuck I’m talking about.

· I’m excited to see the final product. Will definitely be going again, and again, and again.

· What a stellar cast. And yeah, I was hesitant about Reeve Carney, but he was fine. Wasn’t exactly blown away, but it’s adequate. He did well, and I saw major improvement from one night to the next to the next so hopefully it’ll just keep getting better and better.

· I’m living for Eva’s Eurydice characterization. The embodiment of “looks like a cinnamon roll but could kill you.”

· Amber Gray needs a Tony right fucking now.

· I’ve seen a number of the new shows this Broadway season and if this doesn’t win what it deserves to win I will riot.

· Okay, I really enjoyed The Prom. It was a fun, heartwarming, touching show. Especially since I’m a lesbian who grew up in a small town and is now in her twenties and has since gotten out of that. I loved it, and I believe it really deserves recognition and I want it to get it…But Hadestown is just better. It has a stronger book, score, and overall presentation.

· I saw The Cher Show, and it’s a great production of a jukebox/biography musical. I thought Stephanie J. Block did a phenomenal job. I’m sure this show is likely in the top running for costumes purely because they’re so flashy and hell, Cher’s actual designer did them. But I kind of want a more nuanced designer to win than just whoever has the most zazz.

· I know Be More Chill is really relatable for the young people out there, and I think that’s great we’re getting a bigger audience demographic than just old white people (which is mostly what the theater is filled with regardless, however) but I’m not convinced it can come even close in terms of Best Book. And DEH aside (I’m still fucking bitter about that show winning over Great Comet or even Come From Away, and I’ll never not be) we’ve seen musicals geared towards that generation with that sort of message not get awards, which is probably not right. Legally Blonde didn’t win because it was too “pink” and “pink” musicals don’t win. And in this case Be More Chill should not win over a better show.

· And it’s kind of down to just a few musicals realistically to win Best Musical. A lot of shows that opened this year are either for only limited runs (look if Oklahoma or Kiss Me Kate do really well, they might extend them, but if they’re just doing alright it wouldn’t be profitable to give it more awards than necessary. It’s strange how the revivals aren’t open runs) or are already closed. Head Over Heels was a fun riot of a time, but since it’s closed (like Torch Song, Choir Boy, Getting’ the Band Back Together) it wouldn’t be profitable to give them anything.

· Pretty Women and King Kong aren’t doing so hot either. And we have to wait on Tootsie and Beetlejuice, but I can’t see any of them winning big.

· I’m interested to know what the American Theater Wing rules on Acting eligibility here. The rule is that if the name is below the title, they’re a featured actor, but if it’s above they’re leading. That’s why Yul Brenner didn’t get a best leading actor Tony in The King and I. The rules are a little bit more flexible these days, I think. And I know for the Prom, at least, even though some of them aren’t above the title, they’re still considered leads, but who knows?

· And like, who constitutes a definitive lead in this show? Eva probably does, but for Reeve it’s a little different. See he’s not exactly given any more or less stage time than, say, Hermes who is with us for the whole show but might somehow be more of a Featured Actor role. The five principle characters are all pretty solid leads (maybe Persephone a little less so but she’s still very much leading) so who knows? Not me. I have no understanding of how this works.

· Bottom Line: Give Amber Gray, Rachel Chavkin, and Anais Mitchell their fucking Tonys. If Rachel Chavkin doesn’t get the recognition she deserves I’ll riot.

· Bradley King for Lighting and Rachel Hauck for Scenic should be shoo-ins. Nothing I have seen this season will ever be this fantastic.

Edit: Alright, who wants an audio bootleg?

#hadestown #Hadestown reaction #Hadestown for the tony #Anais Mitchell gave us the show we needed

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fourteenacross · 5 years

Text

hadestown - 5/26/19, 3pm

We also saw Hadestown while we were in the city for Octet!

Sooooo, as I mentioned before, I saw Hadestown off-broadway at the NYTW in the spring of 2016. I had previously been familiar with the album, as Orpheus and Eurydice is a particular favorite myth of mine. I can't 100% remember, but I think that someone told me to listen to it when I was writing my X-Men Orpheus&Eurydice story? Either way, when we found out it was going to be playing while @pearlo was in town, we got tickets, along with @littledust and @anachronistique. And it was great!! I truly enjoyed it! I've been listening to bits of it regularly ever since! (Ish. There was like, a good eight months where all I listened to was podcasts, books, and Ghost Quartet.)

I'm saying all of this because this review is...pretty critical? And I want to make it clear that I do love this music and enjoy this show and I had a good time and I would recommend it, probably! But I wasn't as in love with the production as I was with the NYTW production for a few reasons that I'll get into below the cut.

So, usually I go song by song, but I feel like the things I have to say are largely broader than that, so I guess I'm just going to jump right in.

The cast is largely excellent. Patrick Page and Amber Gray could murder me and I'd be okay with it, tee bee aitch. Patrick Page does a thing with his face that just makes me cry, I don't know how he does it. Sorcery, probably. And Amber Gray is an actual goddess, for reals, how is she even real?

I loved Eva Noblezada's take on Eurydice! She had this sharp, broken energy to her that was truly incredible. She was like...spunky. And it was excellent.

I loved Andre De Shields' energy. His movement was unreal. His voice didn't work for me in places, but that could have just been the sound design of the show--there were bits where it was really hard for me to make out what he was singing.

Jewelle Blackman is AMAZING, as are Yvette Gonzales-Nacer and Kay Trinidad. They've really turned the Fates into a more menacing presence, and while I ADORE Lulu Fall and Shaina Taub and missed seeing them, I didn't MISS them, if that makes sense.

Reeve Carney. Oh. My dude. You are certainly a white boy with a guitar.

And here's where it really starts to break down for me. I have two major issues with the show, and the first one is that I find absolutely nothing exceptional in Reeve Carney. I cannot understand why this cagey, feisty girl who's been hurt before would throw everything in with this weirdo, IMMEDIATELY POSSESSIVE kid who's singing her a song? Lisa framed it as, "She's nineteen and she's literally never met a nice man before," and I can kind of see it through that lens, but I also don't think that's the lens that the show wants me to see it through. It wants me to frame this as a beautiful, epic love story, but I don't buy that she's in love with him. Maybe I'm too gay for it or maybe it's the writing or maybe it's the acting, but it doesn't connect for me, and once that connection is broken, the whole show sort of falls apart.

I don't recall having this problem with the NYTW version. It could be that since that version started with the two of them already in love, it was easier to wave it off as some off-stage wooing that already happened and accept that there were reasons they were together. It could have been that Nabiyah Be's Eurydice was a little softer and more naive. It could have been that I empathized more with Damon Daunno's Orpheus. Whatever it was, I found it much easier to accept that they were in love, which made Orpheus' neglect feel so much more painful and Eurydice's choice so much more desperate and all that followed so much more heartbreaking.

Basically, most of the stakes stop being so high if you don't buy into their love, which I just...did not.

My other major issue, to get that out of the way up front, is the pacing is still not great. Although I didn't write up notes after Hadestown in 2016 (I saw it literally hours before I saw Hamilton for the first time), I remember talking with my friends about how the beginning is very tight and the middle-to-end are kind of a mess and bloated. I didn't follow the show closely while it was out of town and I guess I kind of hoped that it would have been tightened up more, but no. It was not. It still feels very over-full and there's now this number where Orpheus gets beat up by the Hadestown workers that's like...comically over the top. In my heart, I really feel like this could be a one act show, or at least a two act show with much shorter acts. "Wait for Me" is SUCH a good act one finale, but you lose some of that energy moving to "Why We Build the Wall," which I think would work just as well as an opening to act two, as much as I love the way "Our Lady of the Underground" is staged.

Anyway, all that being said, I still enjoyed it and still cried, so what do I know, right?

Road to Hell: I liked this as an introduction overall, and loved the little intros for all of the characters. It really sold me on Andre De Shields, too, esp because I loved Chris Sullivan so much.

Any Way the Wind Blows: This is such a great song and god, I loved the way Eva played Eurydice. The candle thing was a nice touch.

Come Home With Me: I can't believe I'm supposed to care about this kid.

Wedding Song: I liked the new twist on this, although I think I like it better a more earnest song. Still, Eurydice using this to sort of mock Orpheus about being a broke artist was a cool twist and Eva sold it.

Epic I: This was fine. It's explained either here or earlier that spring and fall have more-or-less disappeared because Persephone is being forced to spend more time in the Underworld and is being brought back down sooner. The implication, as we get further along in the story, is that Hades doesn't know how to connect to Persephone any longer and is keeping her around more both a) as a show of power and b) because he doesn't know how else to express himself to her.

Livin’ It Up On Top: I would absolutely kill for Amber Gray. This version of Persephone is drinking to cope. A LOT. It paints this sad, lovely picture of what she's been feeling.

All I've Ever Known: I just do not buy that they're in love, sorry.

Way Down Hadestown: The staging and set of the show are fantastic. There's a panel at the center of the stage that rises and lowers as needed and the visual of Persephone and Hades, stony faced both, sinking back into the underworld is perfect.

A Gathering Storm: The through line about the weather mostly works for me, but honestly, I was so distracted by how annoyed I was at Orpheus during this number that I was pulled out of the moment.

Hey, Little Songbird: Skipping ahead a little, Patrick Page is perfect, in case you were wondering. I tweeted something like that after NYTW and he clearly found it in a vanity search and replied very humbly, which I find quite charming. But yes, I adore him.

When the Chips are Down: This is one of my favorite songs in this show and the Fates kill it here. Their slightly more sinister characterization makes it more haunting than taunting and I'm into it.

Wait For Me: The lighting in this number deserves a Tony all on its own. Jesus Christ, that's art. The set is also incredible. As Orpheus moves down into Hadestown, the stage splits apart from an intimate cafe into a larger, more industrial space. Very cool.

Why We Build the Wall: Again, Patrick Page is excellent. This works really well to pull Eurydice in, as well. We see her slowly starting to accept this way of thinking as she listens to Hades. And, of course, Persephone's act-ending line is perfect.

Our Lady of the Underground: Amber! Gray! Is! Wonderful!

Flowers: My actual favorite song in this show. Eva nails it, it was beautiful and poignant, on the heels of her slow realization that this isn't what Hades said it would be at all, that she's forgetting her name and who she is as she slowly is sucked into the capitalist machine.

Then in here is some more Orpheus stuff, including the ridiculous fight scene where he’s beat up by the workers?

There’s also this subplot that the workers think that if Orpheus can get out, they can get out too, so he’s leading like, a whole little revolution? Except that isn’t really expanded on at all and kind of falls away. It also, imo, takes these weird steps towards turning it into a different story than it is. If you’re pushing that it’s a love story, a love song, so much and then at the last minute paste on this “also a revolution is happening????” and then drop it for the emotional climax like...what are you doing, why is this here?

But also, there's this bit where Hades says "Have a drink!" to Persephone and she says something like "I'm done with that" and it is a real (pun not intended) sobering moment for the two of them. Ugh, I just really love them and the complexities of their relationship.

Epic: Patrick Page's face is very good at acting. The rest of him, too, I guess, but even from the cheap seats, I got SO worked up over Hades' quiet slip into acknowledging the despair that he feels over his inability to connect with Persephone. The guy on Naomi's other side was full on crying, even more than me. It was honestly glorious.

(I have a lot of thoughts about Hades and Persephone, and, to be honest, they’re my main draw to this show. I’m fascinated by their relationship here and the way it’s broken in a way they’re not quite sure how to fix. Against all odds, I’m rooting for them, I want it to work for them, if only because they both seem to remember this time when they were in love and nothing else mattered. I think that’s part of why the parts of this incarnation that don’t work for me...don’t work for me. I’m already more invested in Hades and Persephone than Orpheus and Eurydice, so when I have to work ten times harder to feel for their relationship, it just doesn’t seem worth it, especially next to one that I’m sucked into almost against my will.)

Doubt Comes In: I will give Reeve Carney this--despite knowing how this story was going to end, I still felt the creeping tension and dread in those moments leading up to him turning around. A woman behind Lisa said, "Oh no!" out loud, even.

Road to Hell (Reprise): And this is the other place where I cried, of all things! This number ends up being about how we know that this is a sad story and we know how it ends, but we keep telling it anyway, because that's what stories are there to do. I got weepy, who knows!

I Raise My Cup: So they moved this to after the curtain call??? I....don't know if it works like that, tee bee aitch.

ANYWAY, those are my thoughts, mostly I'm tired of typing this and the deadlines that I started writing it to avoid are looming, SO. I enjoyed it a lot, despite the things that bothered me, but I would probably not spend $150 to see it again. Rush tickets, maybe.

#show notes #tag two #tag three #tag four #tag five #hadestown

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druid-for-hire · 5 years

Audio

HADESTOWN, BROADWAY, Apr 25th 2019

Notes & lyrics:

(Note: these lyrics are directly transcribed out of the audio and i’m going off my memory, so there may be inaccuracies.)

[The Workers Chorus takes some chairs and sets them off to the side; a few are left standing.]

EURYDICE Lover, tell me if you can, Who’s gonna buy the weddings bands? Times being what they are Hard and getting harder all the time

[The lighting becomes tinted blue and the Workers Chorus stands; they hold their respective furnitures (chair or table) to their stomach and sway gently like a river.]

ORPHEUS Lover, when I sing my song, All the rivers’ll sing along! And they’re gonna break their banks for us And with their gold be generous All a-flashin’ in the pan All to fashion for your hand

[The Chorus quickly picks up their furniture and bring them together in the center of the stage in a fluid motion.]

The rivers gonna give us the wedding bands

[Top-down, the three tables are put together like a pyramid. Chairs are placed next the tables; the Chorus all seat themselves there in the middle, some on the tables, with an empty spot for Eurydice.]

EURYDICE Lover, tell me, if you’re able, Who’s gonna lay the wedding table?

[She seats herself at the spot left for her.]

Times being what they are Dark and getting darker all the time

ORPHEUS Lover, when I sing my song, All the trees gonna sing along!

[The Chorus all stand or sit up, positioned like a ^ behind Eurydice, arms outstretched like a tree.]

And they’re gonna bend their branches down To lay their fruit upon the ground The almond and the apple And the sugar from the maple

[The Chorus each pull out handkerchiefs and dangle them; the bottom tier/first two on “almond,” the second tier/next two on “apple,” and the last person at the peak on “sugar.” All of them are white except for the last one, which is red.]

The trees gonna lay the wedding table

[The Chorus puts their handkerchiefs away but the red one is dropped into Eurydice’s hands. They get off the tables and are standing around; the red handkerchief is taken back.]

EURYDICE So, when you sing your song... the one you’re working on. Spring will come again?

ORPHEUS Yes.

EURYDICE Why don’t you sing it, then?

ORPHEUS It isn’t finished.

EURYDICE Tch. Sing it.

[Eurydice shows her bare shoulder.]

You wanna take me home?

ORPHEUS Yes...

EURYDICE Sing the song.

[The workers begin setting the chairs off to the side, lining the edge of the bottom of the steps facing away. Eurydice stands center downstage; Orpheus stands across from her on the first platform on the furthermost end, closest to us without being on ground level.]

ORPHEUS La, la la la, la la la...

[The Chorus begins to place tables in front of him as a bridge to walk across as he sings, moving closer to Eurydice, who backs up as he approaches. Tables at the back are cycled to the front once he steps off of them. When he sings, the spotlights begin to converge and swirl on him and turn orange-red and yellow-blue; the other lights dim, as if the light of the room is magnetizing towards Orpheus.]

ORPHEUS La, la la la, la la la...

WORKERS CHORUS La, la la la, la la la... La, la la la, la la la...

[The lights on Orpheus gradually intensify. The lights lining the edges of the stage that glow on the walls slowly light up gold, becoming bright.]

ORPHEUS La, la la la, la la la...

CHORUS La la la la la la, la la, la la la...

ORPHEUS & CHORUS La, la la la, la la...

[Orpheus bends down on one knee and, with a pulse of blue light, produces a red carnation from nowhere in his hand. He is left on one table; the others have been placed to the side with the chairs, where the Chorus now stands/sits.]

EURYDICE How’d you do that?

ORPHEUS I don’t know. The song’s not finished, though.

[The lights slowly begin to normalize.]

EURYDICE Even so, it can do this?

[She takes the flower.]

ORPHEUS I know.

EURYDICE You have to finish it.

[Orpheus hops off the table.]

Lover, tell me, when we’re wed Who’s gonna make the wedding bed? Times being what they are Hard and getting harder all the time

ORPHEUS Lover, when I sing my song All the birds gonna sing along

[The Chorus each lift up a chair or table over their head and spin and bob them, as if a flock of birds.]

And they’ll come flyin’ from all around To lay their feathers on the ground And we’ll lie down in eiderdown

[A table is put up against Eurydice’s back, who leans back on it; it reclines backwards a moment, before she stands back up.]

Pillow ‘neath our heads The birds gonna make the wedding bed

[The tables are put in place.]

EURYDICE And the trees gonna lay the wedding table

[The Chorus lifts the chairs over their heads, a slow and fluid movement.]

ORPHEUS And the river gonna give us the wedding bands

[The bar is put back together. Eurydice and Orpheus sit together at the stage right table.]

ORPHEUS & EURYDICE Mmmmm...

#audio #hadestown #hadestown song by song

584 notes · View notes

druid-for-hire · 5 years

Audio

HADESTOWN, BROADWAY, Apr 25th 2019

Notes & lyrics:

(Note: these lyrics are directly transcribed out of the audio and i’m going off my memory, so there may be inaccuracies.)

EURYDICE, spoken ... Orpheus?

ORPHEUS, spoken Yes?

[Eurydice steps down from the crowd of workers and takes Orpheus’ hands in hers.]

EURYDICE, spoken You finished it.

ORPHEUS, spoken Yes! ... Now what do I do?

EURYDICE, spoken You take me home, if you... Let’s go! Let’s go, right now!

ORPHEUS, spoken Okay, let’s go! How?

EURYDICE, spoken We’ll walk. You know the way!

[She points to the downstage stage left (our right) corner where he had entered in Come Home With Me II, then takes his hand again.]

(sung) We’ll just go back the way we came

ORPHEUS It’s a long road It’s a long walk Back into the cold and dark

Are you sure you wanna go?

[Eurydice looks off into the audience with a smile on her face.]

EURYDICE, spoken Take me home.

[Orpheus lets go of her hands, backing away a little.]

ORPHEUS¹ I have no ring for your finger I have no banquet table to lay I have no bed of feathers Whatever promises I made

I can’t promise you fair sky above Can’t promise you kind road below But I’ll walk beside you, love Any way the wind blows

EURYDICE I don’t need gold, don’t need silver Just bread when I’m hungry, fire when I’m cold

[She plants her hands on his chest.]

Don’t need a ring for my finger Just need a steady hand to hold

Don’t promise me fair sky above Don’t promise me kind road below Just walk beside me, love Any way the wind blows

[Orpheus looks back to where Hades and Persephone are still holding each other from the end of Lover’s Desire on stage right (our left) and gestures towards them.]

ORPHEUS, spoken What about him?

EURYDICE, spoken He’ll let us go. Look at him. He can’t say no.

[He looks and gestures to the crowd of workers on stage left.]

ORPHEUS, spoken What about them?

EURYDICE, spoken You’ll show the way. If we can do it, so can they.

[They take each others’ hands again.]

ORPHEUS & EURYDICE I don’t know where this road will end But I’ll walk it with you, hand in hand I can’t promise you fair sky above Can’t promise you kind road below But I’ll walk beside you, love Any way the wind blows

[Orpheus backs away and gets down on one knee, offering his hand.]

ORPHEUS² Do you let me walk with you?

[Eurydice takes his hand and kisses it.]

EURYDICE I do.

ORPHEUS I do.

ORPHEUS & EURYDICE I do.

[She pulls him to his feet. They hold each other.]

EURYDICE And keep on walking, come what will?

ORPHEUS I will.

EURYDICE I will.

ORPHEUS & EURYDICE We will.

¹ I don’t know the specifics, but I hear that as they make their promises to each other, Hades--and presumably Persephone, though her face is obscured by their embrace--are mouthing the same words to each others’ ears. ² Wedding vows! Dramatic irony!

#audio #hadestown song by song #hadestown

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druid-for-hire · 5 years

Audio

HADESTOWN, BROADWAY, Apr 25th 2019

Notes & lyrics:

(Note: these lyrics are directly transcribed out of the audio and i’m going off my memory, so there may be inaccuracies. Spoken dialogue ends in punctuation.)

[Eurydice sits at the stage right (audience’s left) table. Hermes stands behind her; Orpheus stands in front some ways away, holding a flower of folded and torn newspaper. The rest of the Workers Chorus is seated at their tables around the bar setting.]

HERMES You wanna talk to her? ORPHEUS Yes!

HERMES Go on. Orpheus?

ORPHEUS Yes?

HERMES Don’t come on too strong.

[Orpheus presents Eurydice the newspaper flower.]

ORPHEUS Come home with me?

EURYDICE Who are you?

ORPHEUS The man who’s gonna marry you

EURYDICE You’re?

ORPHEUS I’m Orpheus

EURYDICE [to Hermes] Is he always like this?

HERMES Yes.

EURYDICE I’m Eurydice.

ORPHEUS Your name is like a melody

EURYDICE A singer, is that what you are?

ORPHEUS I also play the lyre...

[Orpheus indicates his guitar, which sits across the stage, propped up near the stairs.]

EURYDICE Oh, a liar, AND a player too! I’ve met too many men like you.

ORPHEUS Oh, no, I’m not like that.

HERMES He’s not like any man you’ve met. Tell her what you’re workin’ on.

ORPHEUS I’m workin’ on a song... It isn’t finished yet But when it’s done, and when I sing it Spring will come again

EURYDICE Come again?

ORPHEUS Spring will come.

EURYDICE When? I haven’t seen a spring or fall since... I can’t recall.

ORPHEUS That’s what I’m workin’ on.

[The Workers Chorus stands up and each take their chair, slowly spinning ‘round during the verse, then putting the chairs down and becoming seated again by the end.]

A song to fix what’s wrong Take what’s broken, make it whole A song so beautiful It brings the world back into tune Back into time And all the flowers bloom

[Orpheus gets down on his knee in front of Eurydice’s table.] Will you become my wife?

EURYDICE Oh, he’s crazy. Why would I become your wife?

HERMES Maybe because he’ll make you feel alive.

[Eurydice walks up to front and center stage.]

EURYDICE Alive? That’s worth a lot.

[Eurydice crumples the paper flower and stuffs it into her pocket.]

What else ya got?

#audio #hadestown #hadestown song by song #hadestown musical

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druid-for-hire · 5 years

Audio

HADESTOWN, BROADWAY, Apr 25th 2019

Notes & lyrics:

(Note: these lyrics are directly transcribed out of the audio and i’m going off my memory, so there may be inaccuracies.)

[A steam whistle blows (and a jet of steam blows out from somewhere above the spiral staircase as well). The Workers reappear to get back to work, lined up around the turntable, a space left for Eurydice. Eurydice appears in the worker’s uniform¹ on the balcony and descends.]

FATES (spoken) The deal is signed?

EURYDICE (spoken) Yes.

FATES (spoken) About time.

[One of them gives her a light shove towards the ring of workers.]

Get on the line.

EURYDICE (spoken) ... I did what I had to do.

FATES (spoken) That’s what they did too.

[She joins the line, but doesn’t move with them in their gestures, exact and mechanical. She stands.]

HERMES Now in Hadestown there was a lot of souls WORKERS Low, keep your head, keep your head HERMES Working on the wall with all their might WORKERS Oh, you gotta keep your head HERMES You see, they kept their heads down low WORKERS If you wanna keep your head HERMES You couldn’t quite see their faces right But you could hear them singing: WORKERS Low, keep your head, keep your head HERMES Swinging their hammers in the cold, hard ground You could hear the sound of the pickaxe a-ringing

[Hermes clangs a cut against his mic.] COMPANY One! Two! If you wanna keep your head HERMES & WORKERS They called it “Freedom.”

[Eurydice gets out of line and tries to introduce herself, stepping up to one of the Workers.] EURYDICE (spoken) I’m Eurydice! ... Doesn’t anybody hear me?

FATES (spoken) They can hear! But they don’t care. No one has a name down there.

(sung) Mr. Hades set you free To work yourself into the ground Free to spend eternity In the factory And the warehouse Where the whistles scream And the foreman shouts And you’re punchin' in And you’re punchin' in And you’re punchin' in And you can’t punch out!

[Eurydice moves among the workers, looking at them and trying to get their attention by getting close.] You're way down, Hadestown (Oh, keep your head, keep your head low) Way down Hadestown (Oh, you gotta keep your head low) Way down Hadestown (If you wanna keep your head) Way down under the ground EURYDICE (spoken) Why won’t anybody look at me?

FATES (spoken) They can look. They don’t see. You see, it’s easier that way.

Your eyes will look like that some day.

(sung) Down in the river of oblivion You kissed your little life goodbye And Hades laid his hands on you And gave you everlasting life! And everlasting overtime In the mine In the mill In the machinery Running his old assembly line From Pluto to the Pleiades

Way down, Hadestown (Oh, keep your head, keep your head low) Way down Hadestown (Oh, you gotta keep your head low) Way down Hadestown (If you wanna keep your head) Way down under the ground

EURYDICE (spoken) What do you mean I’ll look like that?!

FATES (spoken) That’s what it looks like to forget.

EURYDICE (spoken) Forget what?

FATES (spoken) Who you are. And everything that came before.

EURYDICE (spoken) I have to go!

[Eurydice panics and starts to run, but stops.]

FATES (spoken) Go where?

[She whirls around to face the Fates.]

EURYDICE (spoken) Go back!

FATES (spoken) Oh? And where is that?

[Eurydice hesitates.]

So, what was your name again? You’ve already forgotten.

HERMES (spoken) See, it’s like I said before: a lot can happen behind closed doors. Eurydice was a hungry young girl, but she wasn’t hungry anymore. What she was, instead, was dead--dead to the world, anyway. You see, she went behind those doors, and signed her life away.

[Eurydice is at this point on center downstage on her knees and sat back on her heels, facing the audience. The Fates loom over her.]

FATES Saw that wheel up in the sky Heard the big bell tolling A lot of souls have gotta die To keep the Rust Belt rolling A lot of spirits gotta break To make the underworld go ‘round

FATES & WORKERS Way down, Hadestown

Way down under the ground...

[The lights around the main stage dim; the Fates back off into the darkness.]

¹ It was hard for me to tell because I was so far away, but I could have sworn the leather of her outfit looked... newer. Less shiny, less worn. Dunno though. Cool detail if it’s there.

#audio #hadestown #hadestown song by song

284 notes · View notes

druid-for-hire · 5 years

Audio

HADESTOWN, BROADWAY, Apr 25th 2019

Notes & lyrics:

(Note: these lyrics are directly transcribed out of the audio and i’m going off my memory, so there may be inaccuracies.)

[Workers come back onstage and hang out near the bar, background characters in the shadows. The ambient light turns up a little, no longer quite so dark or pale blue. Orpheus comes down from the right aisle among the audience and climbs onto stage left (our right).]

ORPHEUS Come home with me!

EURYDICE It’s you...

ORPHEUS It’s me!

EURYDICE Orpheus!

ORPHEUS Eurydice!

[He runs to her, leaving his guitar near the edge of the stage where he’d climbed up.]

EURYDICE I called your name before!

ORPHEUS I know...

EURYDICE You heard?

ORPHEUS No... Mr. Hermes told me so. Whatever happened, I’m to blame.

EURYDICE No.

ORPHEUS You called my name.

EURYDICE You came. How’d you get here?

[Fear flashes on her face.]

On the train?

ORPHEUS ... No, I walked. A long way.

EURYDICE How’d you get beyond the wall?

ORPHEUS I sang a song so beautiful, the stones wept and they let me in. And I can sing us home again.

EURYDICE ... No, you can’t.

ORPHEUS Yes, I can--

[The doors on the balcony start to open. Hades steps through.]

EURYDICE No. You don’t understand--

HADES Young man.

[The ambient light brightens and lights up the edges of the stage; the Workers startle and look up at Hades, as do Orpheus and Eurydice.]

#audio #hadestown #hadestown song by song

255 notes · View notes

druid-for-hire · 5 years

Audio

HADESTOWN, BROADWAY, Apr 25th 2019

Notes & lyrics:

- No lyrics. The audience cheers as everyone enters onstage without fanfare. If I remember correctly, they each grab a piece of the pile of chairs and tables from the center of the turntable and set the stage.

- Hermes arrives onstage on stage right and basks slowly in the audience, pushing back his jacket by putting his hands on his hips to reveal his bomb-as-hell vest. The audience laughs, then cheers.

- His “Aight”s are un-miced. His first one is to the cast, the second to the audience, and the third to start the show. Immediately after, “Road to Hell” plays.

- This is actually a fairly important section. This is Hermes saying, “Alright, I’m gonna be taking care of you this evening. Are we alright? Are we ready to go? Are you ready to take my hand and go on this journey?” And this is everyone saying, “Yes, we are.”

#audio #Hadestown #hadestown song by song

72 notes · View notes

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