i got to see hadestown on the west end and all i have to say is AAAA. i liked the original broadway cast so much i didn't think anything else could compare to me, but omg they were all amazing and maybe it's a bias from seeing it live vs seeing broadway through recordings, but i actually enjoyed them so much more. i think what helped is i felt a lot more for donal's orpheus, whereas reeve's never managed to really put at my heartstrings.
okayokay what i have to list out loved (going to try and go through the show chronologically):
la barrie's hermes using no titles and they/them pronouns. the lyrics were changed to reflect this eg "excuse me, hermes" instead of "mister hermes" at the beginning of 'wait for me', and "feathers on their feet" instead of "feathers on his feet" in 'road to hell'.
the cast keeping their own accents. it's not often in uk theatre to hear british regional accents, even if the actor has or had that accent. so hearing a nothern accent from eurydice was aaaa. as a northerner it made me really happy. i'm not sure if that's grace's real accent or not but aa it just made .
donál keeping his irish accent too. and the chemistry between his orpheus and grace's eurydice was adorable.
hermes slowly kissing persephone hand during 'our lady of the underground'.
PERSEPHONE didn't think I could love anyone more than grey but omg. i've never loved "our lady of the underground" but I do now, the way gloria performed it and this one long belting note she did while bending over crazy far backwards aaa. and at one point while dancing she acted like she'd gone too hard and pulled her back and got stuck, but then very smoothly went into leaning down towards the audience and singing directly at people in the front rows.
wasn't 100% sold on hades at first since his voice isn't as deep as what I'm used too (used to listening to page as hades), but after "i conduct the electric city" and the lights went out and when they came back on there was a single silly spotlight on hades was stood leaning against the door checking his nails all sultry like. his acting was so different from what I'm used too, more energetic and more... playful? i'm not sure if that's the right word but i can't think of anything else. and less cold and stern than page but I ended up really enjoying him. i've got two very different versions of hades i love now.
new lyrics in epic three, "what has become of the heart of that man" has been replaced with new lyrics. i think "man with his arms outreached" has reverted back to pre-broadway "man with his hat in his hands" but i'll be honest me memory of what the new lyrics are is not great.
i cried when hades and persephone danced. both of them were crying. and when they finished dancing he sobbed and crumpled into her arms and she stroked his head and back and held him the whole time orpheus and eurydice sang "promises"
hades breaking it down during the dance, doing silly dance moves and making persphone laugh, and then she joins in and does his silly dance moves with him 10/10 people supporting their partners silly dance moves.
hades "i don't know" answer to if orpheus and eurydice can go... i'm used to patrick page's grave, defeated "i don't know" and here instead you could really see the inner conflict and he was holding hands with persephone and when he said it she angrily let go of his hand and he had his little "his kiss the riot" freak out.
orpheus and hades handshake during the wait for me reprise aaaa
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Hermes: "I know a secret way into the Underworld..."
Also Hermes: "How to get to Hadestown: You have to take the long way down..."
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a couple of maria-christina oliveras' persephone sketches because she was an absolute joy to watch and my favorite part of seeing hadestown on tour a few months ago i would not change it for anything.
whenever i remember specific moments and snapshots of that day she is the one thats often in them. i remember her sitting in the balcony, walking around the stage, the little bits and body jokes she made throughout the play. i am not sure i can properly explain why i loved her performance so much (other than the obvious of her being an extremely talented woman), i can only say that her persephone just inspired so much fondness in me, the same fondness with which i look at the women of my family and think of how much better they have deserved in their life. i wanted things to get better for her, i felt the weight that she carried in her soul, i understood her character in a way i hadn't before
so yeah, i think her persephone will always have a special place in my heart and i am so lucky she was the first one i got to see.
(ft a lil nathan lee graham because he was also incredible and i am so so sorry and mad a phone alarm went off during road to hell reprise because he was killing it)
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So, what have we learned? What’s the lesson for today? For all the never-ending days and restless nights in Hadestown? That morality is transient? That virtue cannot exist without violence? That to be honest is to be flawed? That the giving and taking of love both debases and elevates us? That the Gods and the Fates have answers to questions we dare not even ask? The story is simple: a girl lives and dies. How she dies? That’s easy. The who and the why is the complex part. The human part. The only part worth knowing… Peace.
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I had an angst idea and oh boy, now it's stuck in my head
Ok, so. Hear me out. This song with Hades and Persephone as Malleus and Yuu in book 7.
If anyone wants to use this idea, I'd be super excited to read it because I'm terrible at writing but my mind has too many ideas for its own good.
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Muse Overanalyzing Hadestown #1:
In the intro Wait For Me Reprise, when Hermes asks Orpheus and Eurydice if they trust each other, it is an immediate "we do", but when he asks if they can do this whole thing (walking out of the Underground), there is a pause before they say "we can". Orpheus and Eurydice love and trust each other more than anything, but that does not void the uncertainty they have about this journey.
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