#hadestown act ii

[yomawari]

Hamilton X Hadestown AU: Sketch(?) Dump IV

Aaron Burr as Orpheus Theodosia Burr (The Bullet) as Eurydice The Schuyler Sisters as The Fates Lafayette as Hermes Alexander Hamilton as Hades Thomas Jefferson as Persephone James Madison as Demeter

I used some Hadestown promotional photographs as references for a few of these. Backgrounds are my personal photographs of the Hadestown set.

[trobeds]

SHES OUT OF SIGHT AND HES OUT OF HIS MIND

[littleeliza-lotte]

Hadestown 07/28/24 Act 1 and Act 2

Not my recording, shared with permission from @thebeardedcosplayer . Please do not share outside of tumblr

[sailforvalinor]

After seeing this post I was struck with a vision of how a Star Wars musical would work, so bear with me for a sec:

(Also please keep in mind that I studied theatre in college but NOT music, haha.)

The musical would be pretty dang long but would still be two acts, Act I covering the prequels and Act II the original trilogy.

I think it makes a lot of sense to give the musical an omniscient narrator (like The Narrator in Into the Woods or Hermes in Hadestown). The choice that seems to make the most sense is C-3PO (accompanied by R2-D2), but my vote is actually for Obi-Wan—though the story follows Anakin, he is the throughline for the tragedy and the one who probably experienced it the most personally and I NEED people to understand that, okay.

The musical opens with an introduction by Narrator Obi-Wan, and then launches into a 7-10 minute ensemble piece which covers the entirety of the events of Episode I, narrated by all the characters involved. I don’t want this to sound like the opening of Hamilton, but I don’t mind a reference or two (“how does a podracer, orphan, son of a slave and the Force (huh?) dropped into a forgotten spot in the Outer Rim by happenstance, impoverished, in squalor, become both a dictator and a martyr?” you get the idea). Qui-Gon makes a brief appearance in this scene and duets with Obi-Wan (in this instance I’m not sure if this should be a different actor? Probably, as it would make the transition into Episode II smoother, I just worry that it might be confusing) in which they bicker over Obi-Wan’s rule-following nature and Qui-Gon’s go-with-the-flow ideology. He then sings a section about the will of the force (maybe this whole song is called Will of the Force?) which is interspersed with interjectory melodies from the arrival of Jar-Jar, Queen Amidala and her handmaidens (the handmaidens are a mini-choir), and Padme (with the introduction of her theme), and this section ends with them running into Anakin. The rest of the song involves the introduction of Palpatine and his theme, and the only appearance of Darth Maul, and then the lightsaber fight ensues (fully choreographed) and Maul dies, then Qui-Gon dies in Obi-Wan’s arms (Narrator Obi-Wan looking on sadly), singing one last chorus of Will of the Force, something something “train the boy…it is the will of the Force” (Narrator Obi-Wan echoes “will of the Force…”), then the full ensemble sings one last big chorus, with Adult Anakin joining and then trading places with Child Anakin (a la Shrek’s Fiona). End of song.

Transition to Episode II. This is mainly going to focus on Anakin’s personal tragedy for the sake of time, so the galactic politics might have to get sidelined a little bit—BUT, this is important, after the opening number, whenever Palpatine is not on-stage, he is always sitting in a side balcony closest to the stage watching the events on-stage in full view of the audience. He’s the one pulling the strings, I want him to be LOOMING over the proceedings, got it?

It starts with Anakin’s “I Want” song, as he sings about how he wants recognition from the Jedi, recognition from the Council, from Obi-Wan, etc. We get the sense from this song about how he seems like a bit of an outlier among the Jedi due to his unusual circumstances.

The story proceeds. Narrator Obi-Wan now acts as himself in the story, switching between his role in the story and his narrator role.

Anakin and Obi-Wan probably have a bickering duet (a reprise of the Qui-Gon Obi-Wan duet? Probably. I’ll call it the Padawan Song). They meet Padme again, during which she reprises her theme. Her and Anakin’s romance plays out, they sing a gorgeous love duet, it’s wonderful, it’s beautiful, it takes part of the melody from Across the Stars, you get it.

These other things happen, though in what order I can’t decide:

• The Senate has a Senate Battle song, and the Jedi Council has a Jedi Council Battle song. Both songs very explicitly mirror each other.

• Palpatine has a theme that he debuts early on which he reprises in minor when he finally shows his cards to Anakin as a Sith Lord.

• Obi-Wan has a ballad about how he doesn’t know how to train Anakin, addressing both Qui-Gon and the Force.

• Qui-Gon makes a brief Force Ghost appearance when Anakin kills the Sandpeople (although I’m not sure how naturally this plot point can be incorporated? So I think this one’s a maybe. Qui-Gon appears when he does something evil, anyway.)

• Ahsoka is there because I said so (and her leaving the Jedi is instrumental to Anakin’s fall). They have their reprise of the Padawan Song in which it becomes very apparent that Anakin is trying to imitate Obi-Wan as a master at first, but fails miserably.

• C-3PO and R2-D2 have a song about their frustrations with having to hide Anakin and Padme’s marriage. 3PO sings traditionally, R2 sings entirely in beeps.

• The Clones get a fun song. Because I said so. Rex gets a solo. But this also means that they get a horrible reprise of their song when Order 66 happens. Because I’m evil. They also march through the aisles.

• The Ahsoka leaving the Jedi arc happens (though shortened/possibly altered for the sake of time), ending with a heartbreaking duet between her and Anakin where he begs her to stay. It ends with a solo power ballad in which she escapes the narrative at a cost.

We get to Episode III, all the main events happen as usual, evil Palpatine ballad and Order 66 as described above. Anakin’s turn is marked by a reprise of his “I Want” song overlapping with Palpatine’s song (the “I Want” turning into how he wants to save his wife), and as he succumbs he succumbs to Palpatine’s melody. Also, I want to somehow heavily imply that Palpatine is responsible for Padme’s death.

The fight between him and Obi-Wan is both a song battle and a physical one, the duet sounding like something from Jekyll and Hyde and interspersed with lightsaber choreography. It’s gut-wrenching. It’s goosebump raising, it’s beautiful. I would love the battle to rage through the audience, but that would probably depend on the size of the aisles and whether or not there’s danger of the audience getting bapped with a lightsaber.

The duel ends, probably ending on “you were my brother, Anakin…/I loved you” with Anakin burning on the ground. Obi-Wan then steps out of the scene, and turns to the audience as the Narrator, singing to us about the aftermath—the destruction of the Order, the reiterating the death of Padme (no worries we’re not leaving that offstage), his flight to Tatooine—but then he starts to sing about the twins, and we hear the glimmers of a hopeful theme that isn’t a reprise of anything we’ve heard before. But then the music darkens again. Obi-Wan looks up, and we see Darth Vader standing in the balcony behind Palpatine (now in his Emperor’s garb). The two stare at each other. Curtain.

ACT II. We open on Narrator Obi-Wan again, who is the same actor, now in a gray wig. Luke enters, and sings his “I Want” song.

Now, about Luke. I don’t have any particular ideas about vocal parts for anyone. But I HAVE to insist that Luke be a high tenor (maybe sounds a bit like Orpheus in Hadestown)—I want him to sound VERY vocally different from everyone else in this musical. His “I Want” song, while it should certainly have callbacks to Anakin’s, I want to be entirely his own, as a lot of his other songs are going to be reprises. He wants to fly, he wants freedom, he wants adventure in the great wide somewhere, etc. Luke is a typical teenager, but he’s also a delight and brightens any scene he’s in. You can SEE the Force radiating off of this guy. I am determined to make him your favorite character in this musical.

He meets Ben, they meet Han and Chewie (does Chewie sing? I don’t know?), etc etc. (Do Luke and Ben get a Padawan song? Maybe? I don’t know, I don’t want to overdo this one.) The Cantina Band gets a bit of a song, and Han gets an introductory song.

I’m unsure of how to do the Falcon as a setpiece, but like, it’s a thing. Somehow.

Leia gets a song, although I don’t have a lot of ideas on that front.

As they try to escape the Death Star, Luke, Han, and Leia have a bicker song (a la Into the Woods) as they run around, shoot Stormtroopers, swing over chasms (if it’s physically viable), etc. I would love to somehow work out the trash compactor but I don’t know if it’s possible.

We then get the Ben-Vader fight. (Vader is still played by Anakin, though I think his voice might be another actor, at least until he takes off the helmet.) It begins like the Padawan Song on Vader’s part, but Obi-Wan transitions it into their duel theme and they fight. The fight is more subdued and calculated this time (doesn’t rage into the aisles if it did originally), and of course ends as it usually does, with Obi-Wan letting Vader kill him, Luke screaming from a part of the set where he can’t get to them.

After they escape, Luke looks sadly for a long, silent moment where Narrator Obi-Wan used to stand. He then takes his place and his role as Narrator.

Narrator Luke launches into the story of how they destroyed the Death Star. I genuinely have no idea how to stage the X-Wings, but the number is an ensemble song between Luke, the pilots, Leia, Vader, and Han and Chewie flying in at the last minute. It’s great, it’s glorious, lots of light effects, maybe projections, it’s beautiful. Obi-Wan’s voice (offstage) sings to Luke to turn off the targeting computer (maybe to the melody of Padawan Song).

Luke narrates the events of the next few years.

Again, these things all happen in what order I can’t decide:

• Han and Leia reprise the Luke-Han-Leia bicker song, except without Luke there, it suddenly transitions into a love duet and they break off, confused. Later on the Falcon, they sing it for real and it ends with the kiss. When Han gets frozen in carbonite, they sing their song and the melody starts to drift into Anakin and Padme’s theme. Though it’s subtle, Vader is affected by this.

• C-3PO and R2-D2 have a reprise of their song, this time they are complaining about being saddled with the Death Star plans and being put in constant danger.

• No Wampa (sorry), Luke probably just wrecks, but he sees Ghost Obi-Wan. This is either done through bluish lighting, costuming, or a combination of both. When he encounters him again on Dagobah, Ghost Obi-Wan takes over as Narrator again, it’s quite triumphant.

• On Dagobah, Yoda is played by an actor with a puppet (like Milky White) as he is in all the previous Jedi Council scenes. He has his own kooky comedic song, and then he and Luke have a Padawan Song as he trains him, with Obi-Wan involved here and there.

• Obi-Wan sings a reprise of Will of the Force in which he tells Luke he has to kill Vader, which he of course he isn’t a fan of. The dark side cave scene? I want it but I’m not sure how it would work.

• An easily-dropped Stormtrooper song (doesn’t specifically echo the Clone song, but they march through the aisles in a similar fashion).

• A reprise of Palpatine’s song, in which he duets with Vader, and Vader unsuccessfully tries to hide the fact that he’s discovered that Luke is his son. Important note: up until this point, Palpatine has NOT been in the balcony, but he appears there immediately after this song.

• Lando gets a jazzy introductory theme!

• Luke and Vader have their own battle duet that MIGHT briefly harken to the Padawan Song when he tries to convince Luke to join him.

• …though I desperately don’t want to, I think I’m legally obligated to give Jabba a song. *siiggghh

• Luke and Leia have a duet when he tells her she’s his sister.

• The Ewoks should be there. I don’t quite know how to do it, but they should be.

When Luke confronts the Emperor (presumably on a raised platform with some significant height), Palpatine begins with his villain song, with Luke wavering with his “I Want” song, similar to how Anakin does in Act I. However, instead of succumbing to Palpatine’s, he refuses Palpatine and suddenly breaks into Padme’s theme. Vader is briefly shaken, but he attacks, and in the ensuing song battle (that again might rage through the aisles), as Luke (though he briefly dips out of it when Vader mentions Leia) harkens back to Padme, Ahsoka, and Obi-Wan’s themes, finally defeating Vader.

Palpatine then electrocutes Luke, there’s cool lighting effects. Narrator Obi-Wan looks expectantly at Vader. There’s a pause as Vader looks at his son. He sings a line of his and Padme’s love duet. Pauses. Sings another line, Vader’s voice is joined by Anakin’s. Sings another, louder, and then, with a cry of rage, throws Palpatine down the shaft (behind the setpiece and onto a mattress).

He then collapses, Luke rushes to him, Vader tells him to take off his helmet (in Vader’s voice), and Luke does, revealing Anakin, aged and scarred. In a broken voice, he sings a joyful reprise of his “I Want” song, all about his wishes for his children. He looks over at Narrator Obi-Wan. Back at Luke. Smiles, and then passes into the waiting arms of the Force.

There is a musical interlude as all of the set pieces are cleared offstage. Narrator Obi-Wan summarizes how the Rebels succeeded and the Empire fell. He looks offstage expectantly as the Ewok party assembles, and Force Ghost Anakin joins him. Obi-Wan gestures for him to take over, and after a moment’s hesitation and an encouraging nod from Obi-Wan, Anakin does, telling the fates of all our main characters as the party kicks into gear. He finishes with Luke, and at the sound of his name, Luke’s head snaps toward him and watches his father talk about him with a beaming smile on his face. They share a look, and then the whole ensemble breaks into the finale, a final reprise of Will of the Force, at first beginning with the characters at the Ewok party, but eventually incorporating all the main characters (including a Skywalker Family Moment). Narrator Obi-Wan is the last to join, looking back at the audience with a smile of true joy on his face before he does. Because, in the end, it wasn’t a sad song, and he’s gonna sing it again.

Curtain.

[holly-mckenzie]

Jamari Johnson Williams as Hades in Act II of Hadestown

[genericpuff]

HIII

I heard you like hadestown! I've recently watched the show and became a little obssesed lmao.

If you havent answered before, whats your favorite song of the play?

Oh I was so obsessed with it for WEEKS when I listened to it for the first time LOL

Honestly, might not be the most popular choice, but my favorite sequence in the entire musical is the transition of Epic II into Chant. It makes for such a great tonal shift to set the stage for Act II. It also really drives home the juxtaposition of Orpheus and Eurydice's relationship that's struggling to find its footing in the starving and freezing Mortal Realm against the Underworld's current state of gluttony and hoarding that's driving Persephone away from her husband. Persephone is despaired by what the Underworld has become, while Eurydice yearns for a place that has food and warmth. Both their partners are distracted from them by their own obsessions - Orpheus trying to bring back Spring for the sake of himself and his wife, even to the point of ignoring and neglecting her; Hades trying to control Persephone in fear of her leaving him, and protecting what the Underworld has for the sake of himself and his definition of "freedom". It's perfect.

Also the vocals and instrumentals just slap LOL

[bestmusicalworldcup]

Could we do an act 2 opener poll? There are probably some super popular ones that'll need including but my personal nominations are Letters, Merry Christmas Maggie Thatcher, Don't Cry for Me Argentina, and The Guilty Ones

Sure!

*On My Own doesn't technically begin Act II by some definitions but bear with me here.

[bracketsoffear]

The Fates (Hadestown) "The Fates from Mythology act as a Greek Chorus and an inner conscious to Orpheus, Eurydice, and even to Hades himself. Lonely Avatars often target those predisposed to loneliness and both Orpheus and Eurydice fit that description to a tea. Orpheus's mother abandoned him young, and the world seemed to abandon Eurydice at every single turn.

They actively cause misfortune towards Eurydice. They are the wind who blows out her matches, the wind that takes her coat. They take her only sources of warmth and security, manipulating her desires and convincing her that it's her against the world. Her only choice is to go to Hadestown. Once she arrives, they are the ones to tell her the awful truth and emphasize how alone she really is while way down under the ground. Aside from the inherent Buried-ness of Hadestown, it has some properties of the House Domain from MAG 170. Eventually, you will forget everything about your past, especially the things that gave you comfort - only focusing on the work you have to do and the building of Hadestown's wall.

They taunt Orpheus both when he enters and leaves Hadestown, asking who he thinks he is for entering without permission. "Who are you?", they ask, "Where do you think you're going?/Why are you all alone?/Who are you to walk a road that no one ever walked before?" They are the reason Orpheus doubts that Eurydice is behind him - that he's all alone and Hades went back on his deal. Well, Orpheus always had those doubts; they just brought them to life.

So he turns around, eternally separating the two lovers."

Slugpelt (Pinepaw and the Forgotten World) "she is lonely--her mother was cruel, favoring her brother rainhaze whilst treating her like shit, and the group where she lives is very isolated. also her boyfriend left her to raise her kids alone

she spreads loneliness--while she is less of an antagonist and more of a tragic hero in her own right (and she's at least trying to get better), she does somewhat pass her loneliness down to her kids, being... rather neglectful and barely connecting with them (generational cycles of abuse are somewhat of a. theme in patfw). the comic's author, Raz, is also a big tma fan and has explicitly described her as Lonely-aligned."

[hadsephone]

Could you elaborate more on "Amber shaped Persephone as much as Anais and Rachel did"? Like did she actually have say in things like lyric changes or staging or is it more about her actual legacy and how long she was in the role for?

The second one! to my knowledge she didn't have any direct say in the actual book/script, but ever since they started workshopping the show it was Amber's personality, acting, singing, etc that helped to shape Persephone. She's a very unique and one-of-a-kind performer and her specific mannerisms are what made Persephone, Persephone. Like, I don't really know how to describe it, but if you've seen her in other shows or at solo concerts you can definitely see a very strong overlap between "Amber characteristics" and "Persephone characteristics" and how Ambersephone was a perfect mix of acting as a character while also using her own mannerisms.

Amber was in the show for six years, across four different productions, and that's not even counting workshops. Theatre critics and fans genuinely viewed "Amber Gray" and "Persephone Hadestown" as synonymous in a lot of ways.

Many of the replacements have done a fantastic job at continuing on Amber's legacy while still putting their own unique twist on the role, and that's amazing! Amber is not an easy person to follow and I really do love most of her replacements. I love how they honor Amber's legacy while putting their own spin on the character.

Also there's just so many aspects of Persephone's character that are just...Black culture. For example, her dance in Way Down Hadestown is a jazz funeral. And tbh it's really offensive to have white actors in that role doing the same thing. If Amber had never played Persephone, Persephone would be a completely different character.

Persephone was exclusively a Black/mixed-Black role for almost 5 years.

(As a white fan, I'm not going to comment on non-Black POC playing the role. I ADORE Maria-Christina Oliveras and Shea Renne, who both are Asian-American, and I am not going to comment on whether or not it's 'okay' for mixed Pinoy actresses to play a Black-coded role, because while I do think Persephone should ideally be Black, I'm not going to advocate AGAINST Filipina leads. White Persephone is a million times more offensive than nonBlack-POC Persephone ever will be. That being said, since I've acknowledged that Way Down is a jazz funeral, I do wish that Shea and Maria had had the chance to honor Filipino culture in their portrayal, in the same way that every other Persephone honors Black culture.)

Basically: Amber Gray and Amber Gray's specific portrayal of Persephone is literally what built Persephone. Especially from a racial aspect, there's so many parts of Persephone's character that you literally cannot separate from African-American culture and casting white people as Persephone is so disrespectful to Amber's - a biracial black woman's - legacy in the show. Also, if Amber had actual say in Persephone's lines, I can guarantee the Chant II verse would never have been cut.

[sundaycatchesupagain]

Saw the matinee performance of Hadestown at the Lyric theatre today. Gonna be dumping my favourite/most notable parts under the cut, in no particular nor chronological order:

Lauren Azania was playing understudy for Persephone

At the end of Our Lady of the Underground, she hissed at the Fates like a cat after realising they had entered stage

Finn's wonderful voice crack when replying 'yes' to Eurydice asking 'you wanna take me home' in Wedding song

James strutting on the revolving stage during Chant II

James delivered the 'Oh, it's about me' line in Epic III like a tween girl spreading secrets and rumours. He had such a sassy attitude.

He also delivered 'I conduct the electric city' like a rock star. 'I conduct the electric CITAYYYY'

Hermes. La Barrie as Hermes was EVERYTHING

Finn had an amazing vocal performance in 'If it's true' He really blew me away. His voice was so powerful and angry. It's a song that inspires change, especially when sung with such emotion.

The audience laughed at Orpheus' 'Come home with me,' and gasped when he turned around. It was nice to hear these reactions from people who perhaps have never even heard the story of Orpheus and Eurydice before as someone who knew almost everything about this musical and it's set design going in.

At the start of Promises, when Eurydice says 'you finished it' Finn pumped both of his fists in celebration and delivered such a childlike 'yes!' He even hesitated first as if Orpheus almost couldn't believe what he'd just done. It was so sweet and made the audience laugh as well.

After Epic III Hades kneels and clings to Persephone while she rubbed circles into his back. It was so sweet.

Also when they dance, James did a really enthusiastic jig across the stage which Persephone then matched the energy off. It was so silly and really captured the essence of this old couple rediscovering the feelings of young love.

During the 'la la' portion of Epic III Orpheus waves his hand in front of Hades and seems to be putting him in a trance. James' tipped his head back and his mouth went slack. I never imagined Hades' moment of redemption/realisation being staged this way, but it worked really well

Also, the Workers removed their hats and goggles in this moment and acted out rediscovering their forgotten identities, rejoicing in that they could recognise each other again. It was really beautiful

I could not 'woop' during the final applause because I was bawling my eyes out. Proper vocal sobbing. I first cried in Wait For Me (but did tear up at the start and during Chant because it's one of my favourites) then cried during If it's True, Epic III, Promises, Wait For Me (Reprise), Doubt Comes In and Road to Hell (Reprise)

I'll add more if it comes to me. Ten outta ten performance!

[angrynerdalpaca]

And then I imagined some kind of play or some kind of episode about Cody and Graham acting out Hadestown but with Graham being a version of Orpheus (in this play his name is Atlas) who wants to go down to the underworld to talk about an architectural plan that He has for Hades and thus obtain a job with him and Cody being a version of Eurydice (But his name is Orpheus) who is a musician and dedicates himself to singing to people to cheer them up in difficult times which are the merciless hell.

During the beginning of the first act, we see that Orfeo (Cody) tries to convince Graham (Atlas) that they are both artists who are dreaming something improbable but not impossible.

After Atlas arrives in Hadestown because he had a round trip ticket (which only those selected by Hades could have) the song Chant happens and Atlas realizes that Hades doesn't care about anything as long as continue expanding his empire so he takes his plans with him and leaves, but not before with a type of threat from Hades on a dying songbird, since while all that was happening, Orpheus had the bad luck to cross paths with Artemis, being mistaken for an animal by her or because she prevented him from hunting an animal by accident.

While he is dying (because Artemis shot him two arrows, one in the leg and the other between the ribs) the Fates accompany him, just like Hermes and it seems that the four of them are angry at Atlas for leaving his brother alone.

In the end Orpheus dies and arrives in Hadestown where Hermes, the Fates and Persephone herself tell him what it is like to live there (this happens in Way down Hadestown), at the end of the song Orpheus meets Hades and he recognizes him as the brother from the mortal who dared to call him “Greedy” so he thinks about using that to his advantage (also use Chant II for the way Hades offers Orpheus a deal) the workers tell Orpheus to offer Hades something that He cannot refuse but that it benefits him, but Persephone tells him to be careful with Hades and tells him a little about his story. In the end, Orpheus offers Hades (through a song unrelated to the musical) to be his company in the underworld. while Persephone is not with him and also entertain Persephone when she is there, Hades accepts and the Way down Hadestown reprise happens.

While all this was happening, Atlas finally arrives where they told him they last saw Orpheus and meets Hermes, Wait for me happens there and Atlas reaches the underworld again.

The truth is I'm not sure how it developed but Chant reprise ends up happening but this time it's Hades talking to Atlas and not Orpheus (although it seems like it is).

In the end, Hades and Persephone end up talking about Orpheus and that they should let him go, since despite everything Hades has grown fond of Orpheus seeing him as a young and hopeful version of himself, Hades agrees to let them go but in the same way that I accept that Orpheus and Eurydice left Hadestown, Orpheus is confident that his story will be different from theirs but Atlas is afraid because he has heard this story millions of times and he knows that no matter how hard Orpheus tries to change the ending, he (you and I) know how it ends.

And in fact, everything happens like in the end of the musical, but before the road to hell reprise plays, Atlas sings another song (unrelated to the musical) and after that follows Hermes and then the final song of Persephone where they talk about Orpheus and they hope that I can at least remember them when they get to the underworld too, and the end is the same.

[riveracheron]

girlies when they get mindwiped

happy @eurydice-week . dont have much hadestown brain atm but i looove AUs so i had to do something for today. realized a bit ago that hadestown and the bifrost incident can work as a crossover au both ways so i uh. present: loki!eurydice and eurydice!loki

some notes:

- the au works much better as NYTW for other characters (nytw orpheus is more headstrong like sigyn, the nytw fates are less coniving and more annoying like the prison mechs, hades is a bit more evil so it works better for odin) but i wanted to draw broadway for eva’s last week

- theres no real canon loki - so loki!eurydice is based on reegis’ design for loki + her act ii costume. eurydice!loki is based on jessie shelton’s eurydice and my own loki design, which has elements of reegis’.

please talk to me about this concept im so. yeah

[littleeliza-lotte]

Hadestown 28/07/24

Notes (mostly about Tiago):

After Eurydice’s “kinda makes you wonder how it feels.” Tiago did a little frog jump in front of her and he puffed up his chest all big

Hades’s little wave to Orpheus as he and Persephone go down

Tiago has the sweetest smile ever, and he was just such a cute and sweet Orpheus which made it all the more heart wrenching in act two because you could really see how broken he had become

When singing Epic I, he kinda just. Stopped and looked at Hermes with not a single thought in his head before she told him to go on

Tiago Orpheus was just in his own world, seriously not a single thought in his head. After they danced and when Promises was starting, dude was just not even paying attention and when Eurydice said Orpheus he was still in his own world just dazed out

I fully thought he forgot the words in Epic II, like he said the first lines very slowly and kept looking at his notebook as if he was trying to remind himself but then I realize it was a choice and it was very convincing 😭

Hermes was much more motherly to Orpheus than I’ve ever seen, patting his head, pulling him close and constantly reassuring him

During intermission, the safety curtain went down which was strange since I’ve never seen it down before, they always just leave the stage open, turns out the outer turntable had stopped working! I didn’t even realize until my friend told me, but for the entirety of act two the outer ring didn’t turn which meant a lot of walking in place or standing still. It did feel a little awkward but ultimately they did a good job with covering it up

[shivunin]

Songfic Tag Game

Rules: Pick a song to accompany each of your fics or as many as you like. This might be the fic's inspiration or just pure vibes that you'd like to share with readers. Tag as many people as fics you feature (or do as you please!)

Thank you for the tag @greypetrel!! You know I'm a sucker for anything music-related 💗

Lol well I sure have more fics than I remember, so I'll do them until I'm ready to go back to writing/editing the oc kiss things c:

Tagging back @idolsgf @nightwardenminthara @inquisimer @dreadfutures @bitchesofostwick @vakarians-babe @jtownnn @ndostairlyrium @dungeons-and-dragon-age @star--nymph @zenstrike

Your Fate For Mine: (Elowen decides to sacrifice herself instead of allowing Hawke or Stroud die in the Fade; her friends try to find and bring her back) Anywhere On This Road by Lhasa De Sela

Wander the Drifting Roads: (After a horrible accident, Emmaera loses her Commander and lover in one stroke of a knife. Separated, the two of them must relearn who they are and where their paths lead) Mausoleum by Rafferty or Remember Us by Gabriel Royal or Flowers from Hadestown

Between Strokes of Night: (Hawke and Fenris's first night after deciding to be together again) Awake at Night by half alive

Saccharine: (Arianwen gives in to emotion for the first time in her life and takes Zevran to bed) Saccharine by Jazmin Bean or Kiss Me You Animal by Burn the Ballroom

To the Bone: (Soulmate AU! The last person Salshira intends to seek out is the one on the other side of the flame brand at her jaw. Love is, after all, one of the most dangerous things a person can do. Luck--or fate--drags her to the Inquisition anyway) Die Young by Sylvan Esso or All I've Ever Known from Hadestown

Scattered Stars: (Fenhawke anthology fic--this is where all my Tumblr fics go when they've been edited and expanded upon c:) Right on Time by Brandi Carlile or Everywhere by Fleetwood Mac

Palimpsest: (Fenris's perspective of the events leading up to the romance scene in Act II) That Unwanted Animal by The Amazing Devil or Peregrine by Mako

Tempered: (The Inquisitor learns of a death in the family and tries to manage her grief) Good Grief by Dessa

In Any Life: (Fenris leaves for Tevinter; he and Hawke try to write to each other, but their letters have gone astray) Siuil a Ruin by Anuna or Francesca by Hozier

The Scourge of Sundermount: (A monster lives in the mountains outside of Kirkwall. What fate is there for a monster but a knight with a blade sent to kill it?) Leviathan, the Girl by Phemiec or The Killing Moon by Echo & The Bunnymen or Strangelove by Black Math

Misericordia: (An elaboration on the scene where Cullen explains lyrium addiction to the Inquisitor) The Myth by San Fermin or Nothing Fades Like the Light by Orville Peck

As Two Reflected Stars: (Hawke and Fenris's developing relationship, as traced by the healing of wounds) I Know You Know by Charming Disaster or Arms by San Fermin or Anybody Else by The Ballroom Thieves

Book of Memories: (Sequel of sorts to Wander; moments in Emma and Cullen's relationships, each carefully noted in a single book for later reference) You and Me On the Rock by Brandi Carlile or Photograph by Cody Fry

Sleight of Hand: (Hawke is a stage magician. She's asked very few questions about her surly assistant, which has worked just fine for both of them--until his past comes calling) Enchante by Dirt Poor Robins or The Magic by Lola Blanc

[inquisimer]

hadestown lyric prompts (act II)

I can see you're blinded by the sadness of it all

they can look, but they don't see, you see: life's easier that way

that's what it looks like to forget. forget what? who you are and everything that came before

a lot of spirits gotta break to make the underworld go round

flowers bloom, until they rot and fall apart

I remember someone, someone by my side, turned his face to mine, and then I turned away

come and find me, lying in the bed I made

whatever happened, I'm to blame

you called my name. you came.

it ain't no use, you're bound to lose

why beat your handsome brow? nothing changes, anyhow

If it's true what they say, is this how the world is?

what's the use of his backbone, if he never stands upright?

but who are they to say, what the truth is anyway?

'cause the ones who tell the lies, are the solemnest to swear

no answer will be heard to the question no one asks

our answer matters more than anything they say

it isn't for the few to tell the many what is true

is it true? is it true what they say?

all of his sorrow won't fit in his chest, it just burns like a fire in the pit of his chest

nothing comes of wishing on stars, and nothing comes of the songs people sing, however sorry they are

why do we build a wall and then call it freedom?

if I raise my head, could I change my fate?

if I raise my voice, could I change the way it is?

why do we turn away instead of standing with him?

why are we digging our own graves for a living?

if we're free, tell me why we can't even stand upright?

what has become of the heart of that man, now that he has everything?

the more he has, the more he holds, the greater the weight of the world on his shoulders

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

I don't know where this road will end, but I'll walk it with you, hand in hand

men are fools, men are frail, give 'em the rope and they'll hang themselves

every coward seems courageous in the safety of a crowd

nothing makes a man so bold as woman's smile and a hand to hold

it's not a trick? no, it's a test.

the dog you really gotta dread, is the one that howls inside your head

who are you to think that you can hold your head up higher than your fellow man?

who am I to think that she would follow me into the cold and dark again?

the coldest night of the coldest year comes right before the spring

I used to see the way the world could be, but now the way it is is all I see

you are not alone, I am right behind you and I have been all along

the darkest hour of the darkest night comes right before (the dawn)

it's an old song, and that is how it ends.

it's a sad song, but we sing it anyway

to know how it ends, and still begin to sing it again, as if it might turn out this time?

I learned that from a friend of mine

[icepoptroll]

Typing through my brain fog (naps are weird). Between the three shows you mentioned in your intro…

If you had to choose any characters to trade universes and take the place of anyone (major or minor role) what would it be and why?

[I sometimes enjoy thinking Noel and Mischa might fill the roles of Persephone and Hades pretty well- with Monique in Persephone’s black underworld dress.]

Oh hey!!!

Ugh I am the biggest Hadestown fan and Persephone's dresses are a Major Look, especially the black Act II dress. Such a dynamic like the one between Hades and Persephone definitely would satisfy Noel's craving for Bad Love and a man who would drive him to drink lol

Honestly, for me??? It would have to be Ocean and Constance as Glinda and Elphaba. Their dynamics are so similar. Constance and Elphaba both come to realize that certain qualities they have that they've always resented are actually what make them so uniquely powerful. Ocean and Glinda both come to find out that being superficially popular, famous and admired is not as important as doing what needs to be done for the sake of justice and the greater good, going from oblivious to the feelings and needs of others at the beginning to wanting to TRULY be good by the end.

(also, if Glinda and Elphaba were in the RTC universe you know that Karnak telling their backstories would be rip-snorting hilarious lol)