#Amber Gray Reeve Carney

[ohnolara]

♫ On the road to hell there was a railroad line… ♫

[josie-and-the-pussycats-2001]

Eva Noblezada’s Final Curtain Call for Hadestown - 13/8/2023 [x]

[impikachan]

hadestown save me.... save me hadestown...

[littlespringsongbird]

These five people all on stage again

[tinyphantomenemy]

I'm saying I don't trust anyone with a proshot but THEM

[ourladyofeternity]

I got some stuff. It is really touching to see the OGs on the stage for Reeve once again. And that final turn -screams- my heart.

Anyway, here are some shots I got from instagram.

And also, Eva screaming for Amber. I would give a kidney to see Amber and probably react the same.

[wassupmygays]

nobody talk to me. the original five principal actors in hadestown are returning to the show for not even a month, in the UK, and im stuck in fuckass Illinois with no money

[hadestownhistory]

Some things about watching hadestown live that tragically don’t translate to the recordings:

In hey little songbird, those three little guitar notes directly correspond to the three fates moving remarkably like birds, or perhaps very enthused gossips.

Eva Noblezada puts SO much into her performances. Like sobbing, on her knees, so much emotion.

Orpheus and Eurydice have great chemistry, but Reeve Carney and Eva Noblezada are absolutely magnetic on stage. They bring a depth to their interactions and dynamic that are to die for.

In our lady of the underground, Persephone is flirting like hell with the whole audience. It’s so fun to see, and really makes you feel roped in!

In general, this show does a wonderful job of incorporating the audience. The only time in the recording (live or OBC) that gets close is Hermes saying “you’ve got a lonesome road to walk…” (and the associated verse).

More bits of audience incorporation include:

In Orpheus’s toast in living it up on top, when he says, “and the one we live in now,” carney looks right at the audience. Everyone does. The silence is so tense nobody breathes until he stomps his feet, and you’re almost relieved they’ve looked away, because being seen like that is almost too much.

In Wait For Me, the workers have headlamps and sometimes stare directly at and hold very intense “eye contact” with an audience member. They see you, not that they actually see you more than they can see anything other than their own work right then.

Moving on,

When Hades is doing Papers, he commands the workers, and they look unsettlingly like attack dogs. It’s uncanny.

A recurring style for the workers’ movements is to seem rigid as a statue until a “huh!” or “ch!” which marks them seeming to collapse or falter under their invisible burden

Seriously I could wax poetic for hours about how beautifully the workers move

Persephone sings why we build the wall, and to me it read almost as spiteful. “You want obedience so bad? Well here it is.”

Persephone is honestly so much fun to watch, just in general.

In Living it Up on Top, the trombonist comes down and does a little bit. Unfortunately I can’t tell you more, as I was utterly enraptured by Persephone’s sparkly green dress.

That’s all for now, I may rb with more additions!

[lonelylittledot]

Hermes: And Hades and Persephone, they took each other's hands – and brother, you know what they did?

Me, sobbing: tHeY dANcEd

[she-posts-nerdy-stuff]

GUESS WHO GOT HADESTOWN OBC TICKETS 🗣️🗣️🗣️🥳🥳🥳🥳❤️❤️❤️🎉🎉

[its-a-gold-song]

epic iii by @druid-for-hire

[offbrandhandymanny]

guys does anyone have a bootleg of eva noblezada in hadestown?? anything other then the youtube one cause i’ve watched it so much🙏🙏🙏🤞🤞🤞

[starry-bite]

amber starting the "reeva" chant during speeches tonight i can't

[giselles-dumping-hat]

So Chant is one of my favorite Hadestown songs right

[littlespringsongbird]

Me: it’s a family reunion

The family:

[tinyphantomenemy]

GUYS OMGOGNGOGOMG IM GNONNA DUFMDHAKKAKSDJ