#and how the show ends with Orpheus seeing Eurydice for the first time again

[fletchingsandstars]

Saw Hadestown in person last night. I will be forever changed as a person.

[fuck-you-upmusicbracket]

Doubt Comes In (Hadestown)

Who am I?/Where do I think I'm goin'?/(Doubt comes in)/Who am I?/Why am I all alone?/(Doubt comes in)/Who do I think I am?/Who am I to think that she would follow me into the cold and dark again?

"Hadestown is a retelling of the myth Orpheus and Eurydice and this is the song where Orpheus begins to doubt that Eurydice is behind him and ultimately he turns around. This song fucks me up because it’s like the ultimate climax of Orpheus character arc over the musical, how he has become so jaded by the world, gone from “seeing the world as it could be” to “seeing the world as it is” whereas every other character around him has become less jaded and hopeful and it’s like the epitome of the ultimate tragedy of the musical: that the one character responsible for giving everyone else hope and belief in the world again is the one who has lost his own hope. He feels both that he can’t trust the word of Hades that Eurydice is behind him and also insecurity in himself, he can’t understand why Eurydice would come back with him/follow him when she was the one that left him in the first place because she could not wait for him. And most of all, the lyrics “Who am I?/ Where do I think I'm goin'?…” etc. echo lyrics sung by the Fates earlier in the musical which show the inevitability of this ending, that this is how the story was always going to end: in a tragedy and in loss"

The Old Witch Sleep and the Good Man Grace (The Amazing Devil)

'Cause I've been here so many times before/Don't you think I look pretty/Curled up on this bathroom floor/But where you see weakness I see wit/Sometimes I fall to pieces/Just to see what bits of me don't fit/'Cause when I stand, oh all those folks will run/And tell the tales of what I've become/They'll speak of me in whispered tones/And say my name like it shakes their bones

"GIRL (gender neutral). It’s so unbelievably Hannibal (NBC) coded. Even the bio on genius.com is Hannibal coded. I was making up a dance to this song inspired by Hannibal in my room not even five minutes ago and it’s 10 pm my time. I hope that answers the question I’m just very mentally ill."

"Becoming a demon against your demons ("Cos I’m not trapped / With you you see / You’re the one who’s / Trapped with me"), shaping yourself into something dangerous against what hurt you, grasping with claws and teeth to your freedom and truest self. The pain shaped us but we won't let that stop us."

The Old Witch... submitted by @gay-breakdown-central + @saint-oleander + others

[alyona11]

Ok time for my big Hadestown hot take and that’s that West End Hadestown doesn’t give you a 100% Hadestown experience. It’s still ridiculously good and 100% worth seeing, don’t get me wrong (I used my opportunity and saw it twice and will likely see it again if I’m in London), but it kinda made me realise a couple of things about OBC production that will always be my Roman Empire and make me deeply upset Broadway is too greedy to give us an OBC proshot.

So, here are some of my thoughts and reflections based on seeing Hadestown live on West End + seeing different versions (including London National theatre proshot) in boots. I think you can pretty solidly say that in Hadestown there are 2 main stories: Orpheus/Eurydice and Hades/Persephone. And even though arguably Orphedice is the main most important story, it my opinion it also wins from Hadesphone story being strong. Which works perfectly in OBC due to Amber Gray and Patrick Page delivering a very deep nuanced performances as their characters.

I think part of the success of Hadestown when it works on its fullest is how it creates a very deep emotional journey. And I feel that regardless which pair of Orpheus and Eurydice you have (if we take Broadway/tour/West End take on the characters) it’ll still work! Like you need to try really hard to mess up orphedice the way people wouldn’t root for Orpheus or wouldn’t empathise with Eurydice because they are so relatable and cute. You instantly love them, they are so so lovable. So orphedice part is one thing in Hadestown that imo works if not always then in 99% of the cases.

Hades and Persephone’s part of the story in the contrary is VERY hard to nail on 100%, in my opinion, and this is literally driving me crazy. Maybe seeing Amber Gray and Patrick page in professional recording awoken some feelings in me, I don’t know. I will state straight away that I also do enjoy other actors’ takes on characters and I do see some very interesting character moments there and there. However, I keep returning to the thought that Amber/Patrick’s characterisation works SO WELL for the main narrative. I’ll try to explain why I think so. Consider it my love letter to the OBC.

First and foremost, I feel like Hadesphone story has a very fine dynamic that the actors have to nail, so you would feel that: 1) these two still love each other; 2) these two are buried under their problems and see no way out, only a miracle (aka Orpheus and his song) can save their marriage.

And if the first one usually works at least due to Epic 3, the second one, imo, often (at least partially) falls victim to acting/directing choices which can cause troubles with point 1 as well. I think one big thing I’ve noticed is that often Persephone’s alcoholism gets forgotten in the acting performance. Like yeah sure her choreography includes drinking from a flask but in comparison to Amber you never get a feeling that she is absolutely wasted. Which, is in my opinion something that you should feel when you’re watching the show and something I was constantly forgetting about when I was watching the show on West End. I feel in Amber’s performance you can constantly see that her Persephone’s feel good attitude is a façade of a broken person who knows that her marriage is going to hell in front of her eyes yet she is too passive and hopeless to try to make an active change (well, she does try in Chant and nothing happens), so her only way is to chase the sense of normality that the “medicine” gives her. But when she is alone, if you get to catch a moment when people are not looking at her, you can see a deep sadness under her positive front and her memory of the old days when everything was more simple. Nevertheless, the main point that the lyrics literally say is that Persephone is blinded by the river of wine. And this is crucial to her character and her relationship with Hades because the story states that even though Hades is a problem and he is an active actor in creating more problems, he is not the only failure in this relationship. Persephone needs to be woken up from her apathy almost as much as Hades does and this is something that we see during If It’s True.

From Hades’ side I feel like it’s not a good decision to make him a total villain because when he is irredeemable you don’t feel like the whole “song that will fix the world” has any chance of working long term. I think Patrick nailed a deep antagonist very well. His Hades is weird and lowkey creepy and alien. He does objectively bad things but when you look at him you can’t stop thinking that he doesn’t operate in regular human logic or morality. When I look at him in Chant, it feels to me that his words about building stuff to impress Persephone are absolutely sincere, and I can absolutely see that his Hades doesn’t understand why she is so upset about it when his intentions are so so clear. Maybe it’s my vision but even before Epic 3 when he is so far gone and buried in his projects and messed up ideas I don’t have a single doubt that Persephone is a single motivator and goal of Patrick Hades’ life and that he literally doesn’t need any other being to care about. And tragically this fixation is what makes him blind to all other things he does even if those things ruin Persephone’s life (and other people’s but tbh I don’t think he cares).

I feel like by removing Persephone’s Chant 2 verse Hadestown created more problems for Hades and Persephone part of the story making it a much harder job for the actors to prove to the audience that Hades and Persephone have a chance to make their relationship work. Like I get that maybe it was a necessary things to do (even though I think the show is much better with it) but it made it so much harder to empathise with this particular part of the story unless the actors use the choices that work in the narrative. Because for example when I was watching the show on West End part of me was wondering “what is Persephone’s deal in all of that, what does she win by staying with Hades?” With the verse, and with Broadway Previews or London 2018 in particular this part was clear: Persephone still loves Hades and believes that he has the opportunity to change and become a better man he used to be. Without the verse, however, the actors should give you the same idea during the show which is a hard task considering Hades and Persephone have only 2 big conversations together (Chant and How Long). So apart from those songs there are only subtle mostly silent moments they get together through which the actors have to convey the same thought which is hella difficult and probably hardly will be appreciated by anyone apart from the people who sit closely.

So, maybe because in the actor combo I saw (Zachary and Lauren), I got a feeling that even though they were great separately, I didn’t feel much chemistry between them as a pair. I think, Persephone seemed pissed and tired of Hades all the time until How Long and I didn’t feel that she still believes in his willingness to change. And Zach Hades despite being entertaining, kinda gives the impression of Hades who has other options, he is not into Persephone enough. The only sparkle appears between the two in Epic III which is still cute but I’m not sure if it works just as well if that’s the first time you see the show? Also considering Zach Hades gives more malicious intent in His Kiss, The Riot it seems that he is not even slightly interested in Orpheus having any opportunity to succeed with his quest. Which is not bad, don’t get me wrong! But in comparison to Patrick who is deeply self projecting into Orpheus to the point where you could see that even though he doesn’t want to let him go, part of him does because it would prove he too could succeed in his challenge of waiting for Persephone, this take seems a bit lacking. And overall because of His Kiss, their promise in Wait For Me doesn’t seem as giving much hope that the story won’t repeat itself next Sunday. Which in its turn makes Orpheus’ sacrifice feel a bit… worthless. If on Broadway, when Orpheus turns, but spring comes again you feel like it is the start of something new: hopefully a kinder and softer time. On West End the show also wants you to feel it but when you think about Hades and Persephone you feel…less certainty that this sacrifice will have a long term effect?

I guess the creators wanted to concentrate on Orpheus and Eurydice more and forget about Hades and Persephone by making them more secondary story or maybe there was a lack of director’s involvement to give the cast some hints on how to make this particular part of the story work better, but it feels to me that in its current state the show works in its 85% power which is still great but once you know there is something missing you can’t stop thinking about it and wishing the show would give you those 15% you crave.

[gabessquishytum]

Hob and Orpheus are ex-lovers who are still best friends. Orpheus has moved on to Eurydice and Hob is into someone else as well. Unfortunately, it's Orpheus' father, Morpheus. He makes Hob unbearably horny to the point that any time Hob spends the night, he jerks off in the shower, sometimes twice.

What he doesn't know is that Morpheus has been trying to figure out how to seduce Hob because he wants nothing more than to care for him... except maybe putting his cock in Hob's pretty little hole.

- 🐺

Omg yes. Morpheus has totally had his eye on Hob ever since Orpheus brought him home for the holidays while they were at university together. Orpheus may have only dated Hob for about a year, but Morpheus hasn't been able to forget him. Hob has sort of kept in touch with the whole family and dropped by for visits now and again, and has graduated from both his BA and MA. Now he's working pretty close to where Morpheus lives and they've sort of started... meeting up for drinks? Occasionally? Morpheus is really nice and they get on really well. He's always talking about how Hob deserves to take a break, how his work doesn't appreciate him... he's gentle with Hob. Really gentle. Hob is developing quite a crush.

When he ultimately gets fired from his shitty job, it's Morpheus he goes running to. He shows up in the evening, sniffing back tears, and of course it ends up being the night when Hob kisses him. He's upset, a tiny bit drunk, and he's cuddled up under a blanket with the most gorgeous dilf he's ever seen... it's inevitable, really.

It's quite a thrill to be scooped up and carried to the bedroom (Hob is firmly still in his twink era), laid out on the black silk sheets, and meticulously taken apart. Hob has never felt anything so good. He can't even think hard enough to make a comparison with Orpheus but he knows implicitly that Morpheus is just better. Bigger. And he practically fists Hob open first. It's brain meltingly good.

When Orpheus facetimes Hob first thing in the morning to commiserate on the whole job situation, he can see that his best friend is in bed with someone. He's about to congratulate Hob for getting laid........ until he recognises the mop of black spikey hair, and the pale arm thrown over Hob’s chest.

That's his fucking DAD. And FUCKING is the right word!!!!

[parad-ice-lostandfound]

Prompt: The story about a prince and a traveller <3

Pairing: Malleus x Gn!Reader (Yuu)

Genre: Slight angst (?), Fluff I dunno

TW: Uh, although this is GN! Reader, the reader or Prefect or Yuu is referred to as "Mama" at one point in this. It is meant to be a gender neutral form of address (but if there is another form of address that is more fitting in the scenario please let me know), minor character death, heavily based on Orpheus and Eurydice's story.

AN: Not really happy with the ending of this, but its been in my drafts for far too long. It would have been more angsty, but my sister (who I usually make read my fics to check if it sounds coherent and/or is good) as well as my friends who I showed the initial draft to said that it would be too cruel and that I should make it a happy ending so here we are! Hope you enjoy!

One upon a time, there used to live a prince.

The prince was the heir of a prosperous kingdom. His wise eyes looked over his subjects with the love of a friend and the vigilance of a father. All he ever wanted was for his kingdom to flourish and grow, for his people to live happy lives. And he worked hard to ensure their protection, so that they may spread their wings under his watchful gaze and soar to new heights, bringing honor and prestige to their kingdom. In turn, the people of the kingdom loved and respected him, singing his praises to the birds in the sky and the flowers blooming in the soil. There was no one in the kingdom who would speak ill of their prince, for he was beloved by all.

But, the prince was lonely. He had loving friends to lean on, and trusted elders to learn from, but his heart yearned for that one person who would transform his happy yet monotonous days into pure bliss. His one true love.

And how fortunate was he to find it, in the most unexpected of places, at the most unassuming of times.

He found his solace, his refuge in a traveler from far, far away. It was love at first sight, though the prince would come to realize it much, much later.

The traveler was an intriguing, mysterious figure; quickly endearing themself to each person they came to know. Many vied for their hand, for their affections, yet their eyes seemed to sparkle for only one; the prince.

After many trials and tribulations the two were finally able to be at each other's side. The prince took the mysterious traveler as his spouse, his to love and nurture and adore forevermore. Yet such bliss, was fated to be short-lived.

Death came calling soon, far too soon for the traveler. No matter how much effort the prince expended to save his beloved, their life slipped through his fingers like grains of sand.

The prince was stricken with grief. He mourned for the untimely loss of his pride and joy, and his people mourned alongside him. His heartfelt cries and pleas reached the heavens, moving the hearts of the Great Seven themselves.

One day, the prince was visited by the Thorn Fairy in his dreams. "Child, I have heard your prayers. Your devotion to your beloved is commendable, but the other side can often be cruel. It is best if you let those who have left rest where they rightfully belong, for the price to bring them back is often steep. Are you willing to do anything to have your beloved by your side once again?"

"Anything," the prince replied, with a conviction that moved the fae's heart. The fae sighed, and said, "Very well. If your love is true, and your decision final, then I shall not stand in your way. But be warned; one misstep, and your love will be lost forever. Do not look behind, for nothing exists there except regret."

The prince woke up in a dark cave, the Thorn Fairy's last words ringing in his ears. A warning, and a hint.

The prince followed his instincts; standing up and walking towards the small pinprick of light he could see in the distance. The floor of the cave was damp and cold. It seemed as if the shadows were clinging on to his legs, beckoning him to stay, to rest a while, but the prince continued moving ahead.

After what seemed like hours, (for the prince could not say if time was passing or if it was frozen. All he could do was walk and walk and walk-) the prince heard footfalls of another person, walking behind him. A voice called out to him, the tone so timid and fearful than he had ever heard it be, yet unmistakable. It was the voice of his beloved traveler, his most adored spouse.

The prince nearly turned to look at them, wishing to see what state they were in. He barely caught himself from doing it at the very last minute, remembering the fae's warnings.

Do not look behind, for nothing exists there except regret.

The prince kept walking ahead resolutely, one foot placed in front of the other with a haste. His heart beat wildly inside his chest, as if it was trying to escape its bony prison. The footsteps of his beloved echoed louder as they followed him.They called out to him again, hoping, perhaps, to get a reply; to get a confirmation that their love had truly come for them. But the prince did not answer, in fear of being tempted to look behind. Silently, he walked on ahead, his gaze trained on the light that seemed to get bigger and brighter as he walked towards it. Only a little more, and then...!

His beloved's voice grew frantic the longer he did not reply to their calls. The prince, in his hurry to reach the light and reclaim his beloved, had started walking faster, much faster than they could keep up. So they ran behind him, calling out to him. And fell, just as the prince took one step out of the cave.

The pained hiss that left his beloved's lips was the last straw for the prince. He turned, his eyes widening as the figure of his beloved knelt inside the cave, so close yet so far away from the sunlight, from him.

"No, no, no, no!" The prince exclaimed, falling to his knees and letting out an anguished wail as he wrapped his arms around his beloved. His beloved, who was gradually crumbling away into dust. Even so, they had a calm smile on their face, their hands coming up to cup his cheeks.

"I love you," was all they said, before they returned back to eternal rest.

...

Malina pouted, her hands resting on her father's shoulders as she looked up at him with wide teary eyes. Maleah, her twin, sat beside her on their father's lap, frowning as she asked, "Why did the traveler not return to the prince? He was out of the cave, was he not?"

Malleus gave his two children a gentle smile. "He may have been out of the cave, but the traveler was not. He turned back before they could take a step into the sunlight," he explained to her patiently, eyes shining with amusement as he watched her frown get deeper.

Malina sniffled, her big teary eyes sending a stab of concern through him, and Malleus held her closer. "But that's not fair..." she whined, hiding her face in the crook of his neck.

"What's going on?"

"Mama!"

The two little girls scampered off his lap, making their way to their other parent who picked them up with a confused yet fond smile on their face. "Father was telling us the story of the prince and the traveler," Malina said as she wrapped her short arms around their neck.

They narrowed their eyes at Malleus as they held the little princesses in their arms.

"Malleus."

Malleus chuckled, the sound soft and slightly hesitant as he made his way to where the three of them were standing. "Apologies, my beloved," he said in a soothing tone, his hand rising to tuck a wayward strand of hair back in its place, hoping that the loving gesture would take away some of their anger.

"We will be having a talk about this later," they huffed, and Malleus nodded, placing a gentle kiss on their forehead.

He watched as they brought the young girls back to their bed, settling the little ones and promising to tell them a better bedtime story than the one their father had told. Malleus smiled as he sat behind them, his arms wrapping around their waist loosely while he placed his chin on their shoulder. A soft rumble left his chest when they raised their hand to run their fingers through his hair as they regaled the two sleepy girls with tales of knights and princesses.

Soon Malina and Maleah drifted off into sleep, holding each other close. Yuu sighed, a fond smile playing on their lips as they looked at their children.

"Hornton."

Malleus pressed his lips against the nape of their neck and smiled. "Yes, my dear child of man?"

"You are a menace," they chuckled, and Malleus smiled.

"Perhaps."

They hummed, the sound light and sweet as it carried into the otherwise silent room.

"One day, they will learn that it was all a true story," they said.

"I believe they would like our version much better, when the time comes," he mumbled against their shoulder, the great dragon fae being lulled to sleep by his beloved's soft voice.

"Definitely, Hornton. Definitely."

[francisketches]

I think one of the most devastating things of seeing Hadestown live was when Hermes came in, greeted of each of the chorus members, mournfully placed his hand on Eurydice's shoulder and quietly said "a'ight..."

And in a moment of clarity, like the audience understood the tragedy of what was about to happen, we all said "a'ight" back at him.

My sister had never seen or listened to the show (per her request, she wanted to experience it live first), and her not understanding why the audience replied hits so much harder for a person coming in blind to the show. You don't get why it's mournful, you don't get why Hermes is so sad, you don't get why this girl has her head in her hands.

And the ones who said it, we know. And the ones who didn't, they're about to find out.

And then the trombone begins to play. And you forget about that moment. Until Orpheus turns. And suddenly, the grief in your heart is immense.

A'ight, we're doing this again. And we know how it ends. But we're gonna sing it again. Maybe this time, he won't turn around.

[attheendoftheline]

The middle-

The first time I was exposed to Hadestown was a few years ago, my friend talked to me about it and was a fan. So I go to boot up a video (this might have been pre Broadway but the set was very similar) and somethings not right. All the characters were on stage, everyone was just sitting there and waiting to be  acknowledged - someone say something. I don’t know if it was the video or my memory but it launched into song and I was lost. My Imediately thought was that the video lied and it wasn’t starting at the beginning of the story! It was right in the middle, clearly I’ve missed something…

It’s funny looking back on this how as someone who’s been involved with theater and seen many shows, there’s several types of stages and not all involve the typical curtain set up. Now that I’ve seen the tour and some recordings, I’m almost certain the video started in the right place all along…but I don’t think I was wrong about it starting in the middle of the story.

Hadestown is the middle of the story. It’s an old song after all, one sung in so many different ways over so many different years. From the myth to now…but also in the universe itself. Something that I love so damn much about Hadestown is that it’s circular. It begins where it ends and makes you think things will turn out- if we just sing it one more time it will turn out alright this time. If I restart the soundtrack if I replay the video , If I buy another ticket maybe this time. This one. Will be it. I love that the story is this…  ambiguous thing — is it a time loop? Is it reincarnation? Is it both? I see it as both. A cycle within a cycle, the time changes, the place, maybe a name, but the heart is the same be if  ancient Greece or 1930s New Orleans. I love it especially as the characters themselves seem to be aware of it on varying levels, hell sometimes to the extent of begging the audience to step in when no one else will. (People have expanded on this more than I am here).

So yes, we do enter in on the middle of the story, two young lives tangling together to get torn apart and brought together over and over and over. It happens again by the end, Orpheus works the tables but the sparkle in the eye is duller then it used to be. Eurydice hops into the station with more hope and pep then she ever used to hold at the last beginning. This!!! I’ll save you from my screaming but this!!! Little detail keeps me up.

[dani-says-stuff]

I NEED TO COMMIT TO A STORY TO WRITE BC NOW THE FIC IDEA OF A PJO/HADESTOWN REINCARNATION IS BACK TO PLAGUE ME

scatterbrained thoughts so i don’t forget and to see if anyone else out there cares below the cut

like its the hadestown version of the myth bc 1. LOVE and 2. there’s something just so funny about like hermes moonlighting on broadway for a bit w a whole musical ab one of his favorite and heart felt tragedies

also the lyrics “maybe it will turn out this time” and all other ones along the lines of retelling it hoping it ends differently AND THEN IT ALL COMES BACK— LIKE THEY REALLY DO REINCARNATE and it (maybe) works out this time on the road to hell, on the rail road line

the banter between hermes and apollo about how maybe hermes is better at his job and they should switch (he basically wrote a whole award winning musical and starred in it for years and then in a weird way prophesied that the tragic lovers would return)

apollo is not pleased

aphrodite squealing in the corner bc it’s just such an outlandish time-transcending love story, heart break, and reunion

percy just over this bs bc why is this his life

eurydice hermes kid ? like hermes feels bad “she was a hungry young girl” and all that, he does his best to be a good father this time to heal the ancient trauma she has AS WELL as his own for failing luke all those years

orpheus apollo kid? he was a muses’ son after all, and that poor boy’s workin on a soooong

also more hermes/apollo banter

idk godly parent subject to change (does eurydice even need one? what if she’s just a clear-sighted mortal that hermes took under his wing this time)

eurydice is at yancy w percy not a rich kid tho, she’s literally in like the same underdog position he’s in there

the monsters are after her too… but not bc she’s a powerful demigod, she’s supposed to be in hell… how the fck did she get out???

orpheus is at camp ?

eurydice gets beamed up to the underworld with sally

hades is just ??? like hmm… this one seems familiar, but he can’t quite put his finger on why

then orpheus shows up later with percy and the gang and bros just like “oh no… fuck me, not this shit again…”

idk all this is subject to change (or it might not happen at all) bc as entertaining as it would be, a lot doesn’t make sense… like why would orpheus care and want to go on the quest bc he doesn’t even know eurydice yet AND where would the story go after the first book??

also the fact this would be oc x oc, i mean i love those stories, but idk how others feel about them

i also thought about au-ing in percy as a orpheus so the would already be friends and stuff… but then that doesn’t make sense bc of how blatant he is about being horrible at singing except when played by chris mccarell in the musical… mans can SING

all that and i also have a list of requests, a tumblr masterlist to fix the links on, the regulus book and the hunger games book to do (and a possible OTHER pjo book that i only really told to wifey @iknowyoureabigfan )

idk lemme know ig if this seems interesting, this thought has been rolling around in my head for years and all the bullet points just randomly came to me today

that’s all ~ byeeee

[stuckasmain]

But we sing it anyway

Moulin rouge is a story inspired by the myth of Orpheus and Eurydice. You probably know this as ever since finding out about it from my playbill I haven’t shut up about that fact, well? Here’s a concise post. The story is inspired, not exact, however it’s a little bit funny… just how much it ties with Hadestown (a much more direct adaptation of the story).

Moulin rouge is also a timeloop story, while not as overt in its lyrics and presentation as Hadestown it makes no effort to hide this. At the very end of the pre show in fact! Christian comes to raise the sign sending the audience “back in time” alongside him to the prior year. In both cases the men- a more correct statements would be surviving lover- are what initiates the story beginning again. Both shows can be viewed in this way as a song of grief. Orpheus is apart of an old song that’s been replaying for longer than he may know and Christian is writing a love song, their love song, their story- as Satines dying request. He’s keeping her alive this way. They’re always together this way. Moulin rouge is a timeloop in a much more self inflicted way, Is she gone or will she live with every preformance? If he can even get it to be preformed. However unlike the movie we aren’t seeing Christian write the story- we are seeing him as a part of it, talking to us directly. Don’t believe me on the timeloop/living memory? Just watch how he raises the sign- the heavy sigh the love in which he has the whole first act- the excitement and joy like this time- this time is different. Sort of like someone else we know…

Optimistic and naïve, though deeply sad boy with a Godly musical ability X Jaded woman scored one to many times by the harsh realities of life

Both make the other better, they contrast each other, change each other, become each other in some sense or another. In both cases the optimism and lust for “happy endings” comes far too late for the woman and the man has learned how the world is at the cost of the love of his life.

However, in the case of Moulin rouge we do get a glimpse of a much more complicated relationship. While all of the mentioned does happen we also see jealousy, frustration, miscommunication. A more full developed relationship than a metaphorical one (not saying Orpheus and Eurydice are any less of a couple just that in following the myth more closely we loose some time of just them).

Christian follows Satine to hell long before she dies, he jumps headfirst in without even having met her! Momantre- the Paris underworld- he comes in search of it in this version of the story and finds her already there. Trapped by circumstance rather than soul ownership and the “twist” is he doesn’t bring her home. He makes his home there.

In both, the surviving lover is left near catatonic on the stage, rocking themself for some form of comfort or unable to move at all. Their sobs echo through theaters in which a pin could drop. Love doesn’t heal illness, nor does it reverse starvation. It means a lot to those of us alive, to the memory of those loved. But to death?

What gets me is how Satine is actually the one to save Christian! (She stops his suicide attempt) She, like Eurydice, meets her end in the most joyful, hope filled moment. That second where audience and character alike think it will turn out this time… despite full well knowing it’s a tragedy. Christ!!

Conclusion-

All tragedies must now end with a confetti cannon encore. (Moulin rouge nat. Tour you’re getting my therapy bills)

[tending-the-hearth]

why hadestown was literally one of the best shows i've ever seen

so i saw hadestown this past saturday for the first time ever and when i tell you i have never been so emotionally wrecked by a broadway show before

so i've compiled a little list of my favorite things from the show!!

act 1:

orpheus doing the stomping cues for the opening with hermes... that's his mom your honor!!!

"his mama was a friend of mine" THAT LINE WHEN LILLIAS WHITE VOICED CALLIOPE IN THE DISNEY HERCULES MOVIE I LOVE LITTLE THINGS LIKE THAT LIKE ORPHEUS' MOM REALLY IS ONE OF HER FRIENDS

short king orpheus and tall wife eurydice supremacy

jordan fisher was SUCH a sweet and silly orpheus, like he was fully tripping over himself around eurydice the entire first act

LOVE the chorus so so much

eurydice being so cynical until she sees what orpheus can do and then immediately falling for him

they're the definition of "he fell first, she fell harder"

also during "wedding song", orpheus continues to reach out to eurydice, and then during "all i've ever known", the way she reaches out to him but it's so hesitant and awkward, but orpheus just beams and immediately holds onto her 😭

hades and persephone were playing dominoes up on their little balcony and they actually looked so in love until orpheus started the epic, such good bg character acting

lillias white and betty who said mama bears hermes and persephone supremacy!!!

persephone #1 wingwoman she wants these two idiots to get married immediately

the entirety of "way down hadestown" with eurydice and orpheus being giggly and in love!! they're so so oblivious and focused on each other, just the most innocent love

adding onto the fact that jordan is shorter than both solea and phillip the moment where he jumps between them at the end of the song was so silly

i really love the detail that orpheus stays on stage for "a gathering storm" and the rest of the act, he's so focused on his work and doesn't notice anything

i was worried "wait for me" wouldn't live up to the hype but OH MY GOD OH MY GODDDDDDDD

the little details between hades and persephone, with them shifting from how they were acting in the balcony to persephone barely being able to reach out to hades

act 2:

love that eurydice is naive like orpheus, but in a cynical way

holy SHIT solea my beloved "flowers" was actually godlike

what if i lost my mind at how gentle orpheus was when he found eurydice... what if...

the way eurydice drew back when hades told orpheus that she went with him willingly, like she was ready for him to be angry at her... the way he went right back to her and was checking to make sure she was okay

literally started sobbing during "if it's true", the way orpheus gets angry in a way we haven't seen, and the chorus + eurydice join with him

when the chorus removed their caps and became people again... i was a wreck for the rest of the act ngl

"epic 3" or as i like to call it the "hey look at how hard i can cry" song

orpheus comparing himself to hades, and it being so emotional because we see how innocent and happy he is, how he loves so much, and has so much hope, and seeing how hades had become, and knowing that without eurydice, that's how orpheus becomes, giving up on love and life until he's killed

HADES AND PERSEPHONE DANCING 😭😭 THEY WERE SO PLAYFUL AND HAPPY

jordan and solea were just... the most amazing orpheus and eurydice. they just had such sweet chemistry, and "wait for me" reprise with them reaching for each other UGH

the way you could hear orpheus quietly crying as hermes began to sing the "road to hell" reprise somebody sedate me

IT'S ABOUT SINGING THE SAD SONG AND CONTINUING TO HAVE HOPE THAT IT'LL TURN OUT HAPPY THIS TIME

the only reason i didn't completely decompose is because the knowledge that in the myth, when orpheus dies, hades gives orpheus and eurydice their memories back, and they get to be together, happily, in the underworld.

anyways if i had the money and it was possible i'd fully go see hadestown over and over and over again because it just was so beautiful and impactful plus i'm a sucker for good greek mythology retellings

[crowsghosts]

I swear Hadestown lives absolutely rent-free in my head. The hyperfixation on the show has been going over two years strong and dear lord how do I start.

I first heard of Hadestown when I listened to the Cathedral edit of NYTW Epic III by druid-for-hire on YouTube. I don’t remember when I first ran into it, but the hyperfixation didn’t officially start until June or July of 2021. Regardless, when I did find out about the show’s plot, I went

“Oh. Oh no.”

I already knew of the Orpheus and Eurydice myth thanks to the power of a TedEd video. I knew Orpheus would turn around. But maybe he didn’t in this adaptation-

And he did. Damnit, Orpheus, you had one job.

As to why I got so attached to the show/it becoming one of my hyperfixations? I don’t know. Maybe it’s because the respective myths of Orpheus and Eurydice and Hades and Persephone stand as my favourites out of the Greek mythos. Maybe it’s because I relate to Orpheus in plenty of ways and Hades to a small degree. Maybe it’s the music genres, jazz and American blues respectively, that I’ve always enjoyed since I was a kid. Maybe it’s all of those factors, who knows? Hell, the hyperfixation caused me to dive deeper into the Greek mythology rabbit hole, see the show on tour and on broadway, want to learn the instruments used in the show, and incorporate some aspects of the show and the myth it’s based off of into my minecraft character.

I remember, during intermission at the tour show, I overheard someone talking to their friend something along the lines of…

“So, you think this will end happy? Well…”

You should’ve seen my face when I overheard that.

And when Orpheus turned around when I saw it on broadway last month, I remember hearing a very distinct “noooooo” in the audience. It always interested me how people react going into the show practically blind. No knowledge of the Orpheus and Eurydice myth. No knowledge of the ending. The hope that the pair will make it, only to be utterly shattered when the bard, doubt taken over, turns around and helplessly watch his muse descend back into the Underworld. Back to Hadestown.

I remember balling my eyes out when I first heard Epic III and nearly cried hearing it live. Twice. I know Orpheus turns around in the end, but at the same time, denial remains a river in Egypt until I see the show or listen to the soundtrack again.

Again.

And Again.

But, as Hermes says, it’s an old song, and we’re going to sing it again and again.

[inkofamethyst]

February 25, 2024

I met up with my family in NYC this weekend to explore and see Hadestown to celebrate my birthday and it was fantastic. I feel so rejuvenated after the quick jaunt (less than 24 hours in the city!). I'm not really a huge fan of NYC compared to my current city, but I can recognize its beauty and appeal (even though it gives me an awful experience of some sort every time I enter lol). We went to the New York Public Library and it was amazing. I wish we had hours to spend in there rather than minutes, but we had a show to get to.

Hadestown was... I don't really have words to express how much I enjoyed the show. I mean, it broke me, wrecked me, body mind and soul, but I'd see it again in a heartbeat. I'd heard about it from a friend of my dnd-friend way back in 2019 during or after a game of, you guessed it, DnD, and I'd wanted to see it ever since. I knew the story of Orpheus and Eurydice; one of my favorite tumblr posts of all time discusses the varied interpretations of the myth, and I honestly go back and read it once and a while because the story has always always always been beautifully tragic to me. So I knew how it ended (but I hadn't listened to the soundtrack--I'd refused all these years). And yet. I cried silently at intermission, knowing that Orpheus' quest would be in vain. I cried silently as Eurydice slowly dropped at the end. I cried during bows, I cried on the way out of the theater, I cried while expressing to my family how beautiful it all was. Why tell a story you know is doomed over and over and over again? And every single time, we hope they get it right, though we know they never will.

The music was excellent, the storytelling excellent, the actors (named and ensemble (even with just five they sounded so powerful)!!!!!), the choreography, the set design, the musicians, the lighting design (!!! (as a once-former lights person I'm keenly aware of the effect lighting can have on a story and whew they certainly used it))... All phenomenal. There was a choreographed bit in "Wait for me" with the lights swinging on beat and, just, wow. WOWWWWW. All involved should contribute to my next therapy bill lol.

My mother said she never realized I was such a romantic and, frankly, I didn't either. I mean I knew I was a crier. If there's one thing Imma do, it's cry. And cry ugly. But I think I'm drawn to stories about what love makes us do. Stories that show us how love can destroy, but we still do it anyway, again and again. We seek it out. We risk destruction for the chance at being known, truly and fully.* There was a line in act one from Eurydice, something like "All my life I've only held my own, now I just want you to hold me," and that knocked me out.

Y'all I think Hadestown might be my new favorite musical, surpassing Aida after, oh, six years?

I also had my first ever migraine during my trip lol. I'd braided my hair very very tightly, so it was pulling on my scalp, slowly forming a headache. That combined with the plethora of street smells, the greasy ham and pineapple pizza (which was so so so so good though, place called Carve), and two nights in a row of less than six hours of sleep (braiding lol) resulted in headache + nausea and I wanted to die. But it was nothing an Exedrin and some rest couldn't fix.

During my braiding marathon (a week and a half because I was so busy ugh (but they look gorgeous!!!!)) I watched Blue Beatle finally and thought it had a lot of heart. Regret not seeing it in theaters, but I think it came out during a period where I was just tired of it all ("it" being superhero movies). Also watched The Flash and thought it was very compelling. Flashpoint is not an uncommon means of exploration for the character, so I've seen at least a couple iterations of the same story, but I think this version was done quite well. It was interesting, well-paced, had a nice ending, and was a graceful way to get rid of Ben Affleck lol (also loved the old Batman theme <3 (ALSO also love Is She With You because that is a banger every single time)). I think Ezra Miller plays a really endearing Flash, shame he's crazy :/

Also watched a lot of animated movies on Max! I watched Belle (another with some "la-la-la"'s hehe) which was odd in many ways but was also cute and beautiful, compelling and full of heart. Then I did a bit of a Ghibli marathon of movies I'd never seen before: Tales of Earthsea, Princess Mononoke, Nausicaa, Arietty. All beautiful in their own ways. Very unique storytelling, gorgeous art, powerful messages. There are still several I want to see!

I finished Batman Beyond and the ending was dumb anticlimactic lol. The least they could've done was a two-parter that built to something satisfactory. Honestly the epilogue episode in JL (JLU?) was more compelling. Batman Beyond: Return of the Joker was pretty solid though. I think I'm going to give the DCAU a rest now hehe. Gotta catch up on the MCU, frankly. They've got some interesting things coming up...

*ReesaTeesa's "Who tf did I marry" series was something else. That was another thing I watched while braiding. Finished in two days. Was watching while making figures in the office and someone recognized her face lol. Three things. 1. I did not know a person could be tortured in the way that she was. What happened to her was awful, and it was only because she put herself in the vulnerable position of seeking love. 2. I can't say I fear a pathological liar specifically, but one of my romantic fears is wanting someone's affection so badly that I overlook red flags. Wouldn't be the first time. 3. I know how the internet works, so I shouldn't be surprised, but imo finding her ex's facebook and flaunting it in her comments was a breach of the social contract between ReesaTeesa and her audience, and it should not have been done. She does not want to be associated with that man. I fear for her peace and hope that he does not attempt to make a single penny off her. Was I curious too? Yes. But a person's privacy is more important than my curiosity, always.

Today I'm thankful for the time I got to spend with my family. I'm so thankful to have a family I enjoy spending time with. Teared up while saying goodbye :') We're considering making this a yearly thing while I'm in school here. That would be lovely. Also thankful that things are looking up for my sister, it's been a rough school year so far, but things are shifting toward the positive rapidly! Lastly, lowkey thankful that the subway was out of order today on my way back to my apartment. Forced me to take a shuttle which drove through parts of the city I'd not been to yet. Excited for spring and summer treks there, though!

[theprinceandthewitch]

I really should have started with the Orfeo event because oh my god...

Shows me a smile of familiarity, as if we know each other.

===-

Orpheus: You..

Young Girl in a White Dress: Good evening! Orfeo!

Orpheus: You knew who I was playing as?

Orpheus: [The girl tilts her head and looks doubtfully at me]

Young Girl in a White Dress: Hasn't it always been like that? You're Orfeo and I'm Eurydice. Do you plan on playing a different character today?

When the player chooses the "Orfeo" option:

Orpheus: No, I'm Orfeo.

Young Girl in a White Dress: Did you study the script this time?

The video player bugs out so I can't tell what ption the person selected, but "Young Girl in a White Dress"'s name changes to "Eurydice and she asks Orpheus a question:

"Eurydice": But i've always wanted to ask, do you like the ending?

Orpheus, if you select the "I don't option: No, I think it's a tragedy.

"Eurydice": What kind of ending do you hope for?

Orpheus, If you select the [Eurydice and Orfeo never have to be separated again" option: I hope Eurydice and Orfeo never have to be separated again.

"Eurydice": Even if it means remaining in hell together?

Orpheus: Even if it means remaining in hell together...

"Eurydice: But Eurydice may not like this ending. [The girl mumbles and looks down].

The recording glitches so I can't see the message that pops up, but "Eurydice" leaves and the player goes to talk to Norton.

But yeah like... it's amazing how the sibling truthers tell on themselves... HOW do you play this event and not see the reveal of Orpheus being Alice's playmate coming? The Orfeo event came out about a month before the first episode of Ashes of Memory did... and yet people will still say AoM is a revamp when it's really just the pay off to what was set up in Time of Reunion... Ppl will look u directly in the eye and tell you theyre siblings knowing this was in the game...

====

Kind of unrelated, but I wonder if Melly's and Nortons designs for Pluto and Proserpina/Persephone is a reference to the Faerie King and Queen in Sir Orfeo. I said Orfeo is a reference to Sir Orfeo, but it could just be a reference to "Orfeo ed Euridice" which is a retelling of the Greek tragedy with a happy ending. It's also the way Orpheus is spelled in Italian lol.

But I can't help but wonder if they drew some inspiration from Sir Orfeo, because their appearance reminds me of the Tuatha de Danann - these were the Faeries the poet would have been referring to in Sir Orfeo, not those cute little creatures with butterfly wings. They just straight up looked like humans and were capable of benevolence and malevolence.

They probably made Norton look like that to tie him more closely with gold, since Pluto is also associated with wealth. So that checks out. Norton's association with gems and precious metals isn't far off from the way the Fairie King is portrayed either.

Even though most of their references lean more towards Greek and Roman mythology, I still can't help but think they've read that story, since Norton falls in line with the Fairy Kings actions in Sir Orfeo. Specifically the part where he whisks Heurodis [Eurydice] away to the Otherworld - the land of the Fae - after she falls asleep under a grafted tree. Norton is trying to take Alice away from Orpheus by... kidnapping her I think? Like idk what he's doing tbh, he chases her... the Orpheus knocks her out to get her away from him... then he gies her some medicine when she's in the cellar... but whatever he has planned for her ain't gonna be good.

Anyways, the point of this last bit is that you should read Sir Orfeo... and you should make Orpheus and Alice art that references Sir Orfeo... ;)

[rumpunch]

HIIII so… i finally got to see hadestown this weekend (the national tour production) w two of my best friends 🥹🥹🥹🥹🥹🥹 i knew we were gonna see it for months but i didnt want to post abt it beforehand / acknowledge it in any way after making plans bc i was scared i would jinx it like what happened when i posted / talked abt seeing shows on the west end and then covid hit and sent me home lol. but i can’t believe i finally saw it!! it doesn’t feel real and honestly didn’t until right now as im writing this….. being in the theater was truly an out of body (and mind lol) experience for better or for worse. this was my first time seeing a show since covid and im soooo glad it was this one given how much it’s meant to me for all these years 🥹💗

i have a lot of thoughts on the production and also the plot / story so here they are lol:

production thoughts

for context ive never seen a hadestown 👢 before, i told myself that i wanted my first experience of seeing it to be actually seeing it in person. but ive listened to the obcr 5798673594 times over the last 3 years and the songs have become thoroughly woven into my life... so that made for a really weird experience where i knew every word but was watching it unfold for the first time and yet i knew what was coming for the most part. that also could be chalked up to the fact that ive seen so many gifsets and have read so many posts about other ppl seeing the show so i did know about some visual things.. but yeah it was just weird what i knew / expected and what i didnt lol

my friends and i sat in the back right corner of the mezzanine (like the LITERAL corner. no chairs behind us or next to us and the exit right next to us) and sadly the balcony in the set was cut off for us so we had to keep leaning across each other or scrunching our heads down to see the action up there :~/ but it was ok

i think bc of the above two bullet points + the fact that i really did not let myself believe that i was going to see the show bc i was scared of jinxing it + me having depression / possible derealization issues that i did not have when i first got into this show... i was kinda numb the entire time which sucks a little. i cried a couple times (happy / disbelieving tears in road to hell (persephone's entrance specifically for some reason, idk why it wasnt the "aight"s LOL) and any way the wind blows, sad tears in doubt comes in) but i didnt really... process anything in the moment or really experience the epic highs and lows of it while watching it. i just generally wasnt very moved! and im processing the show right now for the first time. and that kinda sucks and is unlike me and unlike what i thought seeing it was gonna be like. in a similar vein i found myself really focused on whoever was in the spotlight and im kinda mad at myself for that bc this is a show where SO many little details / context clues are communicated when ppl are in the background. but its fine i guess, i may be in a weird place mentally but i got to see it and maybe i'll see it again someday and be more moved

the cast was PHENOMENALLLLLL. j antonio rodriguez was our orpheus and he was the standout for me, his singing and acting as were breathtaking! i was frustrated about hannah whitley (eurydice) though bc like (and i feel bad for saying all of this)... nobody can be eva noblezada but hannah was missing a lot of notes / singing off key and kept like.. idk what the technical term for it is but she was kinda singing on her own beat and adding in a lot of pauses or rushing into things instead of staying on pace with the music and also she kept kinda revving up into the high notes and all of it grated on me. but i grew warmer to her singing in act 2 and i really appreciated her acting throughout! i didnt rly have many thoughts about hades (matthew patrick quinn), persephone (maria christina oliveras), or hermes (nathan lee graham) aside from ADORING all of their performances and what they brought to the roles compared to the obc! and the fates (dominique kempf, belén moyano, courtney lauster) / ensemble (kc dela cruz, colin lemoine, sean watkinson, shavey brown, raquel williams) / musicians were INCREDIBLE and had such amazing chemistry with and between each other :~D

antonio made for a bolder more charming orpheus and hannah made for a darker moodier more tortured eurydice which was interesting. but (and maybe this was just me dealing with the whole numbness / already knowing what to expect thing) i wasnt really convinced about their love story (specifically the early parts of it in act i as they were falling in love) or that orpheus in particular was insecure and vulnerable to the fates. but they did have some good chemistry in act ii especially and i was rooting for them so hard despite knowing wht was to come :~(

i knew that on broadway they have that little elevator in the center of the stage so i was curious about how it would work in the tour and... they had this giant oven box thing with moving doors! i actually really liked that, it made the whole idea of traveling to / from hadestown seem more sinister. that said i was kinda bothered by it during doubt comes in because orpheus and eurydice had to walk around the entire stage to make sure eurydice was positioned in front / inside of the oven and it kinda spoiled the ending in a way (even though we all know how that ends)... im guessing that on broadway its less exaggerated and you dont see it coming bc all eurydice has to do is just move over to the side a little. but idk i'll finally let myself watch a 👢 and see what the difference is

i couldnt take my eyes off of hades and persephone during promises. they started the song with hades kneeling with his head against persephone's stomach and then he stood up and they just hugged.... for a LONG time. like at least 3-5 minutes. and i was like god i wish that were me and i was thinking about what that mustve been like for the actors playing them.. like if thats a moment that they share and look forward to or whatever bc i know i would. it made me think about jenna's dear baby monologue in you matter to me LOLLLL

i saw from another post i read on here (as i was pregaming for the show by scrolling thru my hadestown tag LMAO) that orpheus runs through the audience at one point? and he didnt do that for us that i saw which i was bummed about. maybe thats just a broadway thing

i had no idea the set splits open during wait for me!!! it was so cool

i also didnt know / fully realize that hades produces a flower for persephone during epic iii 😭 the tears in my eyes... also speaking of epic iii hades singing the lalalalalalalaaaa got a LAUGH and i was so MAD!!!!! i get that its kinda funny because it just sounds so weird in his voice and its a startling moment... but that pissed me off bc the moment is supposed to be so tender and heartbreaking and the audience didnt appreciate that.. augh.

since its pride month the set was initially lit up with rainbow lights and in act ii hermes had little rainbow tassles on the ends of his sleeves!! :~D

plot / story thoughts

another context bullet point to kick us off: i discovered hadestown in the spring / summer of 2019 which was an INCREDIBLY formative time for me and so many aspects of the show (creative expression as a tool / forum for bringing about the world as it could be (and illuminating the possibilities in the world as it is), discovering that you have agency, love / loyalty / betrayal / sustenance, finding your purpose, etc.) were profoundly relevant to things that i was awakening to at that exact place and time in my own life. so i went into this experience hoping to have more insights like the kind i had when i first listened to the obcr... and i didnt really. i mean i had some but they didnt feel as profound i guess? and again that may just be me having mental health issues now that i didnt have then.. but that was a thing that i was aware of and kinda sad about. so yeah

that said... the main thing along those lines that i did take away (which really only hit me while watching epic iii / promises) is like... love is agency is love is agency is love.... or something like that. at least that they coexist and happen together. the oppressive conditions in hadestown and the poverty in the overworld strip the gods and humans alike of... their humanity (which is weird to apply to the gods but still)! their sense of self, and their love for each other and the world. the moment that became clear for me was in epic iii when the workers took off their goggles one by one and it was like.. they could See again! they could see themselves and each other, they were holding hands with each other and singing together. and they saw a future that they could create together. and hades was letting persephone dance and she kept spinning away from him with her arms outstretched like a bird but then coming back... idk. im not articulating this well and i need to think about it more and let it simmer for a bit and maybe watch a 👢 to get all the details. but it was like yeah... the opposite of capitalism imperialism etc etc is love and agency and they go together and they are the same thing.

another thing i need to think about more: orpheus went to hadestown all by himself to get eurydice! how come he was so confident then? he was LITERALLY alone. he didnt know where she went or if she would come back with him. and he didnt have the workers following him (though they were there in wait for me swinging the lamps, but i interpreted them as being like... part of the scenery i guess). he was completely alone and operating off of hope AND THE FATES TAUNTED HIM TOO and he was like... fine! so then in doubt comes in.. when he has all these people including eurydice following him... like idk. maybe its just because he'd confronted hades who couldnt fully be trusted and he knew that eurydice had turned her back on him and stuff... like maybe its just because on the journey back he'd experienced things that caused him to doubt / mistrust the people he was journeying with / from and that's what made him vulnerable, not so much the physical loneliness but the emotional loneliness that comes with a betrayal. which is something i just realized typing it out lol. but that kinda agitated me bc its like... he was FINE the way up so why did he crumble on the way back :~(

doubt comes in is such a fucking GUT PUNCH btw. i wanted to cry harder but didnt let myself bc i didnt want to be too loud or soil my mask. but i was so so scared to see it and it devastated me. its just so... SAD. and its so... like i relate to / identify with orpheus SO much yes in part because of the creative expression / seeing the two worlds thing but also because of doubt comes in specifically. its just so so so sad. he had all of these people including the person he loved most cheering him on and echoing to him. and he couldnt hear them. and he couldnt internalize how much they loved and believed and trusted in him. and he turned. that is so wrenchingly real. and it hurt so bad to see it playing out on the stage knowing what was about to happen and then WATCHING it in all the brilliant horror. like thats another insane thing the way the lights get so wildly bright. actually now that i mention that i think the lights are brighter in hadestown when bad things are happening. like hades saying I CONDUCT THE ELECTRIC CITY etc etc. that could be a whole post. someone should make that

im thinking a lot about The Song and whose song it is and actually WHICH song it is. bc if you think about it... so we're introduced to the lalalalalalalaaaa and whatever song that is which builds in the epics. and that song incites a lot of action like orpheus (quite literally!) tuning out eurydice which causes her to choose to go to hadestown, and hades realizing what love is and whatever. but another song that is equally if not more catalytic is.... IF IT'S TRUE!!!! bc thats the song that sparks the revolution among the workers and gives orpheus hope that he almost lost after learning about eurydice's betrayal and inspires eurydice to fight for something instead of succumbing to her fate. and in wait for me reprise when eurydice is singing "echoing OUR song" "the falling of OUR feet" ... like they're not alone as just the two of them, the workers are coming too!! so which song is she referring to! what if it's actually "if it's true" and the hopes that orpheus has stirred up about what the world could be?

btw speaking of orpheus tuning out eurydice... im sure this point has been made 5476463979 times but its rly interesting to think about how love languages (for lack of a better way to put it, ik that can be kinda reductive) work in this show. eurydice and orpheus both attempt to address the storm but the ways they choose to do it are different / dont align: eurydice tries to manage the short term by searching for food and firewood, while orpheus works on the song that will bring spring back and stop this kind of disaster from happening again. but iirc they dont talk about how they're going to take these two different but equally important strategies — eurydice at least interprets the song as being unimportant and orpheus just... straight up seems unaware of the food / firewood thing also being important. so theres a communication failure and eurydice interprets the silence as abandonment (for good reason, also relatable) and turns her back (ha!) on orpheus. and then with hades and persephone... hades does all these big flashy power gestures to show his love for persephone but it's the exact opposite of what she wants and they dont see eye to eye about how to express their love for each other either. yeah

speaking of eurydice making that choice... like yeah. sigh. betrayal is such a huge thing in this show. trust and betrayal. eurydice was (kind of) leading orpheus through the immediate short term danger of the storm and she turned on him. and the fact that she did was part of the reason orpheus turned on her. they made their vows in promises that they would walk side by side but he couldnt get over it (partially bc they literally weren’t allowed to physically walk as they planned but still). and eurydice said "im right behind you and i have been all along" and its like no you havent been thats the entire plot of the show lol (again for understandable reasons but still!)

another thing im sure has been analyzed 456456984 times but its interesting to think about hermes watching everything playing out while knowing how it will end and not choosing to intervene. idk what that means and my laptop is running out of battery so im not going to dig into it but im just thinking on it. BUT ALSO THAT GOES FOR US AS THE AUDIENCE like so many ppl probably know how it ends and maybe some ppl are seeing it multiple times and its like... anyone could intervene and change the story (within reason ofc). also goes for the other ppl on stage too like the musicians etc. its just interesting to think about the implications of that and what would happen if someone tried it both "in character" and "out of character" i guess

its interesting to think about the role walls play in the show too. like the wall hades is making the workers build to keep out the "enemy" and keep them (him) powerful and prosperous in their (his) isolation vs the walls repeating the falling of feet, echoing songs... letting people know theyre not alone. and the fact that that doesnt happen in doubt comes in even though orpheus is being followed by a whole crowd basically. idk. fascinating

ok those are all of my thoughts i think! i also saw some interesting posts / takes that im going to rb again bc theyre on my mind as i interpret the show but i dont want to put them in this post bc theyre not my original thoughts. ty for reading if you did :~D this is a glorious new era in rumpunch nation im so glad and grateful that i can finally say ive seen this beautiful show!

[greatsylveon2007]

Rules: shuffle your 'on repeat' playlist and post the first ten tracks, then tag ten people.

Thank you @thegreatmaddu for tagging me and allowing me to ramble about music &lt;3

Tried my best to explain my thoughts on each song but my thoughts are not comprehensible to anyone including myself so I apologize in advance

My thoughts are also.. kind of long, oops

1 - Sharks - Imagine Dragons

"You're hot, then you're cold, you're a light in the dark, just you wait and you'll see that you're swimming with sharks"

I didn't realize I listened to Sharks so often.. oops. If I had to guess I would say it's definitely because of the instrumental, especially towards the end, don't get me wrong I like the lyrics and the vocals, but the instrumental right before the last chorus sounds awesome imo

Surprised that out of all imagine dragons songs I know, this is the one I listen to the most apparently,, that was unexpected tbh

2 - Doubt Comes In - Hadestown

"i used to see the way the world could be, but now the way it is is all I see and- (Where is she? Where is she now?)

HADESTOWN GRR

This was the song that introduced me to Hadestown I am so normal about it

Idk the vocals are so perfect and I think that the instrumental going on for a lot longer than it does in the rest of the Hadestown songs really shows how oddly silent the journey is for Orpheus. I adore how, despite the fact that Eurydice is literally singing right behind him, he can't help but feel like it's all a trick by Hades, The Fates voices are also so haunting in this one?? Even in like Wait For Me they don't sound like that for me, I love it, they sound amazing 100% of the time but this time they killed it

Orpheus and Eurydice's parts have such a contrasting vibe too, I can listen the colours of their verses what the fuck

Great song super recommend

3 - If It's True - Hadestown

"I believe that we are many, I believe that they are few (we're standing, we're standing, we're standing) And it isn't for the few to tell the many what is true (we understand him)"

Hadestown again,, I have so many feelings about this song aaaa I actually first heard a parody of it in a Shrek 3 video, so hearing the exact same melody and part of the same lyrics on stage was definitely a shock and it took a while for me to process LMAO

I REALLY like this song, it helped me write a character of mine and I just adore the build up as Orpheus starts a riot, the way the workers start singing louder and louder, the lyrics in general and Reeve Carney's voice are phenomenal, I adore this song fr fr

4- Who is She? (Reprise) - Centaurworld

"Who is she? She's the ghost of the girl I used to know. Who is she? She's the echo I'm chasing"

ONE OF THE BEST CENTAURWORLD SONGS MY OPINION IS THE ONLY RIGHT ONE - If I had to rank it it would be like, around the top five..

I listen to this song a lot while I'm having my Hope brainrots because this song represents her so well, I can't talk about it because it's spoiler territory though, I really should start Storm of Shadows 😔

Anyway uhh I love the way they incorporate lyrics from Who is She, What if I Forget Your Face and Rainbow Road into this, and Glenn's voice is so good I love everything she sings in, the instrumental also sounds like really odd but in a good way? I can't tell if it's a darker version of the instrumental of a previous song or not but it definitely gives off those vibes

5 - True North - Vocal Line

"We never learned to use a compass, we never learned to read these maps, we always yearned for far off countries, we never found a straight way back"

OO I listen to this one solely because of a Paranormal Order OSNI campaign PMV idea I have.

The song itself rocks though, the singing voices are so good, the way they're just so calm is kind of haunting in a way? Like the male and female singers always switching between each other and there being (I believe at least) always at least two singers singing the exact same thing at once just gives off a feeling, a good one probably, but definitely a feeling

6 - That Me Is Not Me - Tryhardninja

"Doppelgänger demon in disguise, eyes appear in shadows in the night, evil never dies, it multiplies, multiplies, lies"

"Oh so you're a Mandela Catalog fan-" no, ok so, you know how I just said True North is because of a campaign of Paranormal Order... This song is because of the Quarentena campaign KAMKDKSOS

THIS CAMPAIGN IS SPOKEN IN ENGLISH PLEASE CHECK IT OUT I AM STARVING FOR PO HUMAN INTERACTION

Anyway I've been blasting this song since the first episode on the 25th and it's a certified banger

Oh right the song, tryhardninja's songs just have a very specific vibe that I really like and I cannot explain, I really like his voice and the way he sings stuff idk,, I don't have an explanation for this one I just vibe really hard with it :)

7 - Epic III - Hadestown

"King of shadows; king of shades; Hades was king of the Underworld. But he fell in love with a beautiful lady; who walked up above; in her mother's green field; he fell in love with Persephone"

This is my uhhh third Hadestown song.. I promise I am normal about Hadestown (I'm a liar)

If I had to rank every Hadestown song ever this would be a strong competitor for first place ngl ngl..

I love how the song is cheerful and magic while recounting the first meeting between Persephone and Hades, but turns slow and melancholic as it leaves that memory and goes back to the present.

The way Orpheus uses his feelings for Eurydice to relate to how Hades felt about Persephone, even going as far as using lyrics from his duets with her makes me feel, and the ending where he says things about Hades that drove Persephone away that COINCIDENTALLY are also things about himself that drove Eurydice away it's just so AA

The show really hyped up this song and it absolutely delivered, makes my brain feel many things

(This is my way of begging you to listen to the Hadestown soundtrack)

8 - I'm glad you're evil too - Rachie, PalmMute

"We laught while staring down the void, and cry while listening to vocaloid, two lonely and broken souls messing around with their lives"

This song is just really sweet I like it :) Vocaloid and vocaloid covers just have this very specific vibe

This song is extremely Spook and Chaos core I love it so much I want to draw them being happy forever

To me Rachie's voice just sounds really good with the lyrics and the song is just sweet, it has an energy I cannot put into words and I'm just very normal about it. One of the few songs able to out "memes" into the lyrics and not sound funny

9 - The Goose & the Wren - Hop Along

"While the outcry of 20 men, run from the nearby batallion; as if we avoid their light, then we might make it home tonight"

Another song I keep replaying while thinking of an Paranormal Order PMV (specifically the OSNF campaign hehe)

I don't know I really like the more simple vibe of it? I especially like the singing voices not being your typically smooth crazy beautiful voices you normally hear in music, it gives it a very unique energy that I really like! It sounds like a group of friends singing with each other, I like that :)

10 - Not Evil - The Lego Movie 2: The Second Part

"I'm Queen Watevra Wa'Nabi, the most least evil person you'll ever meet; and if you make eye contact with me, I totally won't have you executed immediately"

While I was flying to the USA the plane I was in had The Lego Movie 2 and I had only watched I think the second half of it by that point so I decided to check it out, tragically this song got stuck in my head 😔

There is no deep super analysis/personal project reason I like this song, Tiffany Haddish is simply killing it and I like how it sounds (the animation definitely helped too)

I uhhh definitely do not know 10 music nerds on this site and the ones I don't know I have no idea if they have Spotify or not..... Don't feel obligated to do this 😔

@rosia4309 @cristallun @crysolis @i dont know anyone else lmaoo

[rfallfish]

The Myth of "Greek VS Roman" Mythology

I've heard so many people insist on this hard distinction between "Roman mythology" and "Greek mythology", and I finally need to talk about it. Did Rome and Greece at one point have unique and divided folklore and stories? Of course! Rome and Greece inherited stories from the people in their area that came before them, and they changed over time. But does this mean that we can draw a clear distinction between "Roman Mythology" and "Greek Mythology". No. And here's why.

Folklore is Always a Meld

The nature of folklore is to change over time and be altered by the surrounding factors. The nature of folklore, then, is also to be swayed and changed by other stories that it comes into contact with. From the very first meeting between a Greek and a Roman, wheels began to turn that ultimately ended up with these stories being inextricably linked. Romans began to worship Apollo as early as the Kingdom period (according to Livy). In time, the Greeks would begin weaving their own stories of Janus, a quintessentially Latin god, and some such stories contradicted any Roman sources. A lot of the deities were similar, so naturally identifications began to occur. It's impossible to really tell at what point the talk between the two cultures had completely blurred the lines.

But didn't Rome have different conceptions of the gods than Greece? Yes, but didn't Athens have different conceptions of the gods than Sparta? Than Ithaca? There are regional differences in mythology and folklore, as to be expected, but if we talk about different mythologies because of it, there are far more than two at play here.

Some Stories Seem Unable to be Classified

Another problem comes in when we want to talk about some of the most popular stories we know form the ancient world. Let's start with Orpheus and Eurydice. Sure, Orpheus was mentioned in a Greek work or two that we have, but our earliest full versions of the story come from Virgil, a Roman poet. Is the story we tell each other Greek? Is it Roman? It seems weird to classify a story which was written by a Roman as Greek, but it seems equally preposterous to say that Orpheus isn't a Greek story. This is because such a firm distinction cannot be drawn.

Let's again examine a popular story: Narcissus and Echo. Almost every person I've seen talk about how they like "Greek mythology" specifically seems to like this story fine, and include it in their conception of Greek mythology. But is this not unjustified? Isn't Ovid (a Roman), as far as we can tell, the one who put these two characters into the same story? This would seem to imply that Narcissus and Echo isn't a part of Greek mythology, but that seems absurd to me.

The list of stories like this goes on, but we can also question just about any story that was first written after the Greeks and Romans got talking. How Greek is it? How Roman? Which mythology is it best placed in?

If the response is that some stories are Greek, some are Roman, and some are both, then I'd just reply with my notes on regional variations within Greece, and point out that the sharing of stories ties Greece and Rome together tightly.

The Ancients Themselves Believed They Talked About the Same Gods

I mentioned the acceptance of Apollo in Rome and Janus in Greece earlier, and that's a point worth dwelling on. Clearly these two cultures were not adverse to seeing the other culture's gods as existing in the same way as their own. Additionally, when these two cultures wrote about the stories they heard from the other, they generally used their native language names, showing that they believed them to be the same.

Conclusion

While it is tempting to separate these two cultures' folklore from each other, there's no clean way to do that and preserve a way to speak on either "Greek mythology" or "Roman mythology" as general concepts. Splitting these two regions from each other would require us to split up those regions or else have an arbitrary distinction on our hands.

As for why this insistence is so prevalent, I have two ideas. First is Percy Jackson, which I have not read. Its treatment of Greek gods versus Roman gods has been explained to me, however, and it seems like it probably sculpted a lot of the modern discourse.

Secondly, I'm almost certain that Edith Hamilton has something to do with this. She tended to glorify the Greeks over other cultures she saw as "inferior", and she had tremendous sway over our modern conception of ancient myths. Additionally, she definitely placed the Greeks over the Romans, and she attempted to separate the two from each other over the course of several of her writings.