#i love hadestown and i love characters who are an orpheus

[amothersvow]

>> relistening to Hadestown and having thoughts..... I love the story of Orpheus and Eurydice and I LOVE making characters who are an Orpheus at heart. Loving so much and so deeply and who will turn because they love and Eliyen is so much like that. She'd turn for her beloved, she'd always make sure they're there, she couldn't NOT turn, it's against her very nature. It's an old song, and she'll always know its tune

[fixated-on-something]

Teenage queers will discover Tragedy and make it their whole personality forever

[optimistic-autistic]

i looove 2018 london orpheus. he's so utterly pathetic.

[kacievvbbbb]

Ace & Luffy and Greek Tragedy

Ace and the Marineford summit war is essentially a retelling of the myth of Orpheus and Eurydice where Ace is somehow both Orpheus and Eurydice.

Like don't get me wrong Luffy is very Orpheus coded

Like of course Luffy was going to descend into Empel down, a place where no one is ever supposed to come back from, to save his brother just as Orpheus descended into Hades to save his lover (Empel down is also literally underground as well). Of course, his love for his brother is so strong and his cause so moving he can't help but rally the world; friend and foe alike, around him. And of course before the eyes of gods and men, he gets Ace back, of course he does! his love for his brother can and has shaken the world.

But Ace has a bit of his tragedy too.

Because just like Orpheus, no matter how much you yell at him to keep going or get frustrated with the perceived stupidity of the choice, Ace was always going to look back, of course he was! How could he not? everything he loved was behind him.

And they'll tell the story a million times a million different ways but no one can deny that love was there. Love was there, and it wasn't enough to save Eurydice then and it won't be enough to save Ace now but it was there and to them that was enough, this proof that they have loved and been loved in turn is enough.

Orpheus and Luffy will carry this love turned anger turned grief everywhere they go, to the ends of the world and back again, they will never outgrow it. But one day they might find poeace in it, one day it will be enough for them too, this knowledge that they loved and they loved well.

Love can not save any of these characters from their fates but i can offer them comfort there at the end and give them courage to face it.

And isn't that proof enough?

[mechawolfie]

look at my sad scared pathetic cat man

[inquirenorth]

.

[eurydices-carnation]

Updated cause I'm in love with a twinky version of Lucifer now (send help)

Venn diagram of my top 3 tenors (these are referring to the characters not the actual actors!)

[inamindfarfaraway]

I saw Hadestown recently and... the metanarrative aspects didn't need to go that hard. The entire cyclical structure with the story being acknowledged as an "old tale from way back when" that they tell again and again despite knowing the tragic ending, which is explored as precious proof of the enduring ability to hope? Orpheus and Eurydice falling in love so fast because they feel that they already know each other, they always have, and we know they're right? Hermes fluidly switching between character who emotionally invests in the doomed lovers and omniscient narrator who knows they're doomed, and the revelation in "Road to Hell (Reprise)" that he's genuinely been both from the beginning? The final song, a requiem for the living by the dead, with the cast out of character after the curtain call? When Orpheus toasts to "the world we dream about" but then also "the one we live in now" and everyone on stage looks straight at the audience for a moment of absolutely chilling silence? I was not prepared and I'm not okay.

[theatricalmage]

The brainrot took over and so here's a vat7k hadestown au!! Don't know if I'll develop it fully but I liked designing it at least!

More info under the cut:

- Varian, the Coronan royal alchemist, tasks himself with deciphering an incantation capable of bringing the world back into tune. Times are tough, and the royal family + Quirin are doing their best to cope with the meagre crop yields and desolate weather (Corona not really being the sunshine kingdom - hasn't been for a while). He wants to help and do good and I think he'd be a good Orpheus.

- Hugo, having moved about from place to place, still has his interest in alchemy and does what he can to get by. He plans on temporarily staying in Corona before looting, but he encounters a certain like-minded scientist at the Snuggly Duckling. I think him being selfish works especially well in Eurydice's role, having a more pessimistic view of the world. It also works with how he gets drawn to Donella's offer of working for her later on, leading him to his death.

- Ulla as Persephone! I was initially stuck on whether to have Rapunzel (and either Eugene/Cass) as her (and Hades) but I was drawn to the connection that Hugo has to Donella and the Donella/Ulla relationship in vat7k just works too well. In this case, Ulla won't be Varian's mother. She's still gonna be somewhat of an inspiration to him though, being the previous Coronan royal alchemist and for her intelligence. For half the year, she'll return to Corona with food, drinks, and alchemical compounds/inventions, bringing Spring and Summer to the world, if only for a bit.

- Donella would be such an interesting Hades, losing sight of her love for Ulla, heart filled with fear and hurt, leading to bitterness and cruelty. Ingvarr being Hadestown and how by being the esteemed Ingvarrian engineer, she'd be in charge of major technological advances across the kingdoms and so would wield a significant amount of power (like how Hades is literally the ruler of the underworld). Ingvarr essentially being a near death sentence for its workers while also displaying its technological prowess, all still shrouded in mystery and corruption - a place so otherworldly compared to the rest of the kingdoms.

I didn't want to modify the outfits too much nor the personalities,, if anything I imagine the general plot beats being the same as the original musical/story but with slight differences that'd you get inherently as a result of these characters. I wouldn't want it to be the case where it's just the show but the names are changed. I'd want this to still make reasonable sense in this AU, with the actions being understandable for this particular cast of characters.

For Hermes, I ended up picking Xavier, as he's most knowledgeable of old legends and stories, which would work in reference to the Hades and Persephone myth (and so Donella and Ulla)! He'd act as a mentor figure for V, someone who can guide him in uncovering the forgotten incantation. Quirin would still be the good supportive dad he is (even if he doesn't fully understand his son's project).

Last but not least, the fates!! often lurking in the background, I'm still a bit stuck on who it could be? I'm tempted to have it be Raps, Cass, and Nuru as they've had celestial connections at some point (and ya know how stars can represent fate), but I also love the freckled siblings dynamic so much. Also Team Radical... Maybe Raps and Cass can be their normal selves but their Sundrop/Moonstone counterparts are the manifested physical forms of the fates? They wouldn't be visible to the characters though, just voices in the wind.

Anyways yeah!! Those are my thoughts. Do let me know if you've got any cool ideas or questions. I'm really combining my interests at full force and there's nothing anyone, not even myself, can do about it quite frankly. 😮‍💨

[jointherebellion215]

His Kiss, The Riot

Feyd-Rautha Harkonnen x female!reader

Summary: When you and your secret lover make plain to Feyd-Rautha your wishes for a life together, despite the proposed arranged marriage, he surprisingly acquiesces. But he can't let you go so easily, can he? Loosely based on the song from Hadestown.

Word Count: 1.6k

TW: manipulation, Dark!Feyd-Rautha, arranged marriage, NONCON elements, gore, violence, she/her pronouns, female!reader, tragedy, star-crossed lovers, songfic, not quite a happy ending (oops), dark dark dark interpretations of Hadestown and the story of Orpheus and Eurydice.

A/N: Thank you to everyone who read If It's True and liked, reblogged, or commented. I appreciate every single one of you. As always, I would love some feedback, likes, comments, and reblogs if you can :)

This is Part Two to my Feydestown trilogy (I'm so sorry for the pun). You can read Part One here.

AO3

Disclaimer: I don't own any of the Dune properties, characters, or storylines-- nor do I own anything related to Hadestown. The images used in this are not my own, and any similarities to stories or events other than what are directly referenced are strictly coincidence.

The devil takes this Orpheus

And his belladonna kiss

“So you wanna get married? Take away the woman I just offered my hand to, to whom I all but have legal claim?”

Your beloved’s replied words of affirmation to his words hold the slightest tremor, but like a dog to fresh meat, Feyd-Rautha sniffs this out immediately. Another smile graces his face. Feyd speaks to the crowd now, “Yes, I was promised the Lady’s hand in marriage. But! I am a benevolent figure, so I guess I’ll let the lovebirds go.”

The crowd starts to give polite applause, while your knees grow weak at the news. You can go? Has love really prevailed on this day?

“However,” and with that, your heart drops “I have some conditions for these… nuptials.”

You could sense the air growing thick with tension as the reality of the na-Baron’s ruling twists out of your favor.

“Conditions?” You whispered.

“Of course, my darling! I can’t make this too easy on you, now can I?” Feyd paces back and forth on the steps from which he speaks, making your eyes dart back and forth with each step he takes. Vigilance overtakes your body in case of any rash decisions.

“You two can leave the city, but it won’t be hand in hand. This pair will have to walk in single file, with the boy in the front and my darling Lady at least thirty paces behind. No ships, no speeders, no running. Walking.”

The energy of the room starts to grow more electric as the points of this term seem to set in.

“The Lady cannot speak out or make any indication of her following behind. You’ll be faced forward the whole journey. Once you reach the edge of the city and passed the threshold, you can be together for eternity.”

Your breath hitched. Seems easy enough, right?

“But, if the boy so much as turns his head to check and see if the Lady is following, the deal is off. She’ll return to me, and we will be married.”

Nothing makes a man so bold

As a woman’s smile and a hand to hold

“Is this a trick?” Your beloved asks plainly.

Feyd tilts his head, pacing down the steps to ground level. “Now, what makes you say that? I’m being generous. I’ve set my terms.” He is now nose-to-nose with the man attached to you. 

“Now meet them or face the consequences.”

The hand holding yours is now pooled with sweat. You quickly and subtly jerk the arm of your beloved when he starts to protest, not recognizing a gift when he sees one. You bow, the picture of poise and grace that you were raised to be. There is still time to leave with all of your limbs intact, you could not afford to slip up now.

“We offer our most sincere gratitude, my Lord na-Baron. Thank you for this most auspicious opportunity. We will not squander it.” 

Your beloved gives a clumsy bow to match yours. Feyd’s manic smile grows as he clasps his hands together. The sound echoes through the hall.

“So it shall begin!” 

But all alone his blood runs thin

And doubt—doubt comes in

The pair of you hold hands, side-by-side, at the entrance of the palace gates. A crowd has followed you to the edge, with onlookers from the outside spectating the unexpected appearance of a noble. Occurrences like this did not happen often, if ever.

“You heard the terms. The Lady must walk thirty steps behind. She must not speak to you.” Your hands reluctantly separate, following the orders you were given. You can feel your heart pounding with each step that you take away from each other.

“Some of my guard will accompany you, to ensure that you comply to the letter.” Four Harkonnen warriors step forward and encase you in a square formation, leaving the love of your life alone and vulnerable. He looks back towards you, fear and doubt creeping into his eyes. You nodded at him, believing that you could succeed in your task. That you would prevail.

“You may begin.” Feyd voices, and with that—you start your journey. Step by step, you walk further through the foliage that immediately surrounds the castle gates and into the city square.

Once you and your beloved reach the horizon, Feyd turns to walk past the crowd and back into the corridor.

Your father, the Duke, bows quickly and offers his gratitude, but is ignored as the younger Harkonnen goes to gather his blade and shield. With a yell, he summons his guards to formation. As Feyd checks the integrity of his weapon, one of the Baron’s advisors tentatively steps towards him.

“My Lord, perhaps you should consider letting them go—” In the blink of an eye, the man is silenced with a swift slash to the throat. Blood spills through the advisor’s hands as he struggles to put pressure on the opening. His body flops to the floor and Feyd carelessly steps over the writhing body to march forward.

“Let’s go fetch my bride.”

Dangerous this jack of hearts

It had been almost an hour of walking by this point. There had been almost a dozen times where you wanted to give any audible indication to your lover that you were here. A whisper, a whistle, a stomp of your foot. Anything. But now you could see the edge of the city, you could almost taste it. 

A life with your love was within reach. 

The guards accompanying you shifted inward, almost boxing you in. You were hopeful, but nerves were creeping in.

This was going well. Too well.

The grand arch signifying the edge of the city was above your lover now. The field that you used to meet at in secret lay just beyond it. You’re almost there. Just twenty more steps and you could be together, forever. 

He steps over the threshold, you see his shoulders lift and fall in an exhale. Then, the man you had fallen in love with— who you wholly believe in— slowly turns his head to lock eyes with you. A pale figure steps out from behind a pillar accompanying the arch.

The growing smile on your face immediately falls. You call out his name.

Oh no. 

The na-Baron tsked and shook his head, as if scolding a child. Harkonnen troops flanked the area, giving Feyd-Rautha enough berth to have his fun. The three of you were surrounded, but only one really had the advantage.

“You were so close!”

Your beloved held out a hand, “Wait, wait! I made it over!” He started to back away in fear, unarmed and exhausted from the long walk. Colorful, ripe foliage brushed his legs as he back into your field.

“Ah, but she didn’t. So, face the consequences.”

Then his blade pierced the man you love. 

Your ears started to ring, throat working itself raw as you wailed. Tears blurred your vision, you could hear the gurgles of the blood leaving your fiancé’s mouth and the slosh of his newly disemboweled entrails hitting the lush field before you.

With his kiss, the riot starts

His body made a sick thud on the floor, and your body jumped along with it. 

You ran towards your dead lover, cradling his face and sobbing for the soul that was just ripped away from you. He didn’t deserve such a violent end. His only crime was loving you and being loved in return.

A chuckle sounded from above you, and you turned your tear-stained face to the brutal Harkonnen. He was covered in the blood of your lover, his spoils of war staining his pale skin. Black teeth on full display, his shoulders gave a slight shake as he expressed his humor. His laughter sparked a rage in you like you’d never seen before. It didn’t matter what bonds you may or may not have formed over the conversations you had the last week. He’s a monster. He needs to pay for what he’s done. 

Red flooded your vision.

With a roar, you lunged for the man. His laugh grew more manic as you smacked, punched, kicked, and hit every visible part of him that you could identify. In your grief, every ounce of training that you received flew out the window. He took every blow with a smile, as if he enjoyed the punishment you were attempting to bestow on him.

“There we go, my darling. Show me your pain. Your rage!”

Your mind started to clear with the more hits you landed. With a quick swipe, you had the weapon that killed your beloved against the naBaron’s neck. The Harkonnen soldiers immediately stepped forward, but Feyd stopped them with a wave of his arm.

“Ah ah ah! Leave her be.” His grin almost split his face in half, specks of dried blood making a painting of his face. 

“Do it. Go ahead, come on.”

He pressed his neck forward, purposefully putting pressure on his own blade. Fresh blood started to trickle down his neck, adding to the gallons already spread all over his uniform. 

The shock of his willingness to put his life on the line made you hesitate, which made him cackle in your face. Your anger made you draw the blade back and slice it across his chest. A groan left Feyd’s mouth, 

“Good girl.”

An unexpected thunk to the head made your vision start to spin. Feyd’s arms braced around you, slowly lowering you to your knees and down to a lying position. He cradled your head as if you were a precious commodity, when he leaned forward and captured your limp lips with his. 

As black started swallowing your vision, you heard him say,

“Don’t worry, my darling bride. It’ll all be alright. You won’t feel a thing.”

[hgracieeees]

my thoughts on the australian hadestown cast!

n.b. these are MY thoughts on how i felt and percieved the australian cast's takes on characters that i've seen many versions of. personally, i felt this show presented similtaneously very fresh and very accurate versions of these beautiful characters <3 in this post, i focused more on the differences rather than the similarities to previous performances.

noah mullins' orpheus is very awkward but in such a sweet way. he's clearly autistic-coded - he fully jumped when he turned around during 'road to hell' to 'see' the audience (+ his wave is so sweetly shy rather than over-earnest) and at one point during 'wait for me (reprise)' he started stimming out of stress & overstimulation. he has less of the socially-inept earnestness than maybe reeve carney's oprheus had (more of a socially-inept awkwardness), but it came out properly in 'come home with me' towards eurydice - it seems like he's terrified of socialising with everyone except her. noah is incredibly lanky, and so their orpheus very much has the vibe of his legs and arms being so long that he never quite learned how to use them properly, which suits his orpheus perfectly. their 'is it true' is powerful not because of an extreme emotional performance (see donal finn's) but because he seemed comfortable and in control for the first time. his neurodivergency also feels a lot more pronounced during 'doubt comes in' - the loss of confidence and increased anxiety feels very natural for his orpheus, as devestating as it is. his awkwardness being said, he is very physically comfortable with eurydice - they and abigail were so adorable during 'way down hadestown', the two of them feel like teenagers who have just gotten into their first relationship. i've heard noah talk about how much they wanted to work with abi, and i'm so glad they got that chance!

abigail adriano's eurydice is a tough little thing. abigail is quite small in stature, especially next to noah, and so she seems to be twice as thick-skinned and aggressive during the opening couple of songs to make up for it. at the beginning she is flighty and quick with the way she runs away from the fates, hades & even orpheus at the beginning of their relationship, super determined to protect herself, but she's got a real baby face which makes you just ache for her and the pain she's clearly already experienced. it also means that when eurydice gets more comfortable during the summer (during 'way down' and 'all i've ever known'), this sweetness just blooms out of her. her and noah have incredible chemistry, and she just turns into a little schoolgirl with a first crush during 'way down'. her 'wait for me (reprise)' is INCREDIBLE, such a powerful voice out of this small girl, and her 'flowers' is SO emotional. also just before the turn, she is like swinging along the set, as if she has so much trust in orpheus and is so excited to leave hadestown and spend the rest of her life with him, which just makes the turn 100x more painful.

christine anu is just the perfect choice for an australian hermes. she has a brilliant Aboriginal aunty vibe about her (we love seeing First Nations people in australian theatre!) - especially as some of the more spoken lines, she really leans into the aussie vowels (e.g. 'we're gonna sing it again' and 'don't come on too strong'). she's got an incredible voice & stage presence, and even though the way she holds herself onstage felt at times as if she perhaps has less musical theatre experience and more experience performing as a singer in her own right (i haven't looked at her resume), that seems to work pefectly for the narrator character, who straddles the fourth wall the entire show. it really has the vibe of her telling all of us a story around the campfire, and she really milked the beginning of 'road to hell (reprise)' for all it's worth. this hermes seems to LOVE telling this story, as painful it is - she's joyful & hopeful in her telling, it's much less of a tortured narrator and much more of a 'this is an important story to tell and it's a story of HOPE despite tragedy' type of vibe. her and elenoa's persephone are girl besties, and she has a real aunty type of love & care (like the aunty who you're not related to, but has always been there) for all the workers + orphy & eury (as noah & abi call them). she honestly feels like the oldest and most mature presence on the stage - older than hades & persephone (read on for my thoughts on a slightly younger-feeling seph & hades), and so able to tell this story from a more mature & knowledgeable position.

elenoa rokobaro's persephone is so much fun. she plays persephone a lot drunker (during 'our lady' and the other underworld scenes) than i'd seen before, which made her alcoholism a lot more obvious and powerful, especially the 'i've had enough' line in 'how long'. she feels a lot younger than amber gray's persephone, which i think makes her story a lot more powerful - almost like a younger sister to christine's hermes at times, and similarly, i felt more of a big sister vibe to eurydice rather than the aunty vibe which i get from amber gray's persephone. i think her overt drunkeness represents her take on the character well - she's a lot looser with her movements, less of the awkward jerkiness of amber's persephone and more of a free, all-encompassing movement (in my opinion). i loved it - her 'our lady' is so much fun, but also a lot more confronting (due to how clear her alcohol-induced numbness is covering up a pain). her and adrian seem almost playful during 'epic III - they danced', which i think contributed to the fun, younger vibe.

adrian tamburini's hades has a similarly younger vibe to him - almost sleazy but not quite (and by younger, i mean compared to patrick page, not to the rest of the characters - him and persephone are still clearly older than orpheus & eurydice). he gave real business ceo vibes at times. this hades really struck me with that insecurity leading to immaturity that every hades textually has, but the immaturity of his behaviour really comes out in adrian's choices. he seems really petty in the way he treats the workers & persephone while he's upset about her being away from him. also, his 'hey little songbird' is much more melodic than patrick page's, which is super powerful when you're used to the low growl, and is very alluring in a different way - a much more similar allure to orpheus'. his 'why we build the wall' and 'chant (reprise)' were SO powerful, though, a real power and anger present in that low voice. they were also slightly more explicit about the subtle sexual connotations of 'he closed the door behind' in 'why we build the wall' and 'the girl means nothing to me' in 'how long' which just made you the right amount of uneasy. i think overall, the younger vibe that adrian and elenoa both have leads to a real pettiness in their anger at each other and a real playfulness in their reunion (e.g. when he grows the flower in 'epic III'). they don't so much have that 'ancient' vibe that patrick & amber had, but i think it upholds the insecurity & immaturity in their actions rather than undermines it (which it absolutely could have if done wrong). i feel like instead of it saying 'here's this ancient couple who are failing at communicating and caring for each other in the way they should, an ancient couple who are still insecure and immature', they are an incredibly powerful couple who are still figuring out how to love each other, despite the length of their relationship and their ultimate power over the workers & the seasons.

conclusion: GO SEE THIS CAST. like i said at the top, these performances felt both new, as well as true to the text and to the original concepts for these characters. they didn't make a single choice that i felt undermined the characters or any other interpretation of them, and they all perfectly enhanced the themes & narrative of the story. by comparing this cast to the original broadway or to the west end casts, i feel like i just understand the chraracters and the text even more then i already did, bringing out new nuances or new ways of representing the same experiences within the same story. i'm going to see it again in april, so if i see these guys again (i would also love to see any of the swing's takes on the roles) then i might add to the post <3

professional photos of this cast: 1 | 2 b-roll: 1

[starrylayle]

women (of colour) in severance

an incoherent rambling about the female characters in severance, specifically focusing on Gemma and Helly. Mostly Gemma. A bit of Alexa too. Spoilers under the cut.

Ok so to start off, I absolutely adore all the women characters in severance they're all soo spectacularly written.

I remember when I first started the show, I thought that Helly was going to be the stereotypical, fiery and the only female protagonist whose story started off interesting but in the end her only character purpose was to be Mark's love interest. Boy, was I wrong. First the elevator suicide scene and then the Helena reveal, I knew this show knew how to write women.

Similarly, when Ms. Casey was first revealed, I remember rolling my eyes, thinking, oh look another stereotypical robot-like Asian lady who has no greater character purpose. Then, it was revealed that Ms Casey was (partially?) severed and not a part of the staff like I'd initially assumed. Of course, then the Ms Casey = Gemma reveal happened and I was SHOOK. Like,, you mean to tell me that she is actually an important character with narrative purpose? And Mark's wife -- I had assumed she was a -- white woman -- who would never actually have a character arc and would only be shown in dead-wife-john-wick-style flashbacks to further the plot.

I became so hyped. Two characters, the 'dead' wife and wellness lady, were actually one which meant they (she) would actually have character arcs!! And she's a woman of color!! Woohoo!!

But now that season 2 is progressing, as much as i absolutely adore it, I'm just worried that Gemma/Ms Casey will not have the caharcter arcs I wanted. Especially the theory that Casey is secretly a clone and not actually Gemma,,, or that she's brain dead,, or that she'll die again,, or whatever else. I know that it narratively works, but I just wish there was some way that Gemma/Ms Casey could have a proper character/character arc, even if it resulted in death at the end. I hear a lot of Mark/Gemma and Orpheus/Eurydice parallels which gives me hope because Eurydice is still a fully formed character (at least in the musical Hadestown llolol). I've seen some people theorise that Mark may have romantacised his marriage with Gemma and maybe they weren't as happy as they seemed?? Which I highly doubt, considering the info we were given in 'The You You Are'. Or maybe she secretly worked for Lumon beforehand?? I dunno how I feel about these theories but they would definitely make for an interesting plotline and character arc.

I guess what I've realised is that the show writes white women very well (Helly/helena, Ms Cobelvig and Devon) and their woc counterparts,,, not so much. Still holding out hope for Miss Huang, Reghabi (what is her deal btw?? I must know!!), Natalie and Gemma/Ms Casey, and that they will have fleshed out characters by the end, but who knows.

This may be an unpopular opinion, but Alexa, the woman mark went on a date with, was actually a favourite of mine. I was convinced she was gonna be relevant to the plot lmao. but eh she feels more of the 'disposable Black gf trope' :( tbh I'm still delusional enough to believe she will come back. Maybe if Ricken beomes a sell-out Devon will leave him date Alexa?? Yes I sound like a delusional lesbian but cmon Devon clearly liked her enough to recommend her to Mark?? maybee?/ Anyways this was a tangent. Maybe if they decide to go the Helly got pregnant route (which I hope they don't unless it ends in miscarriage) Alexa will be there coz she's a midwife (or doula?? I hear different ppl say different things??)

Anyways, I know this is all very far from the main narrative so I don't mind too much, I'm just hoping that they fully flesh out Gemma because she, along with Mark and Helly, are at the core of the story.

[unremarkable-gods]

in honour of being promoted to Deputy Stage Manager in my school's theatre department, top gun high school/sixth form au:

Dr Kazansky rules the drama department with an iron fist. always wearing black turtlenecks. never seen without his glasses, his coffee, and his terrifying glare (which earned him the moniker Dr Iceman). do not show up to rehearsals if you don't know your lines. death be upon the poor students who fuck around during tech and dress, because they will find out. he loves the crew tho.

Mr Call-Me-Mav Mitchell is the head of sports. you name it, he's played it, and he could absolutely give you pointers, also, do you want a protein bar with that? it's chocolate flavoured :) even the kids who Hate (capital H) sports love him. he is sunshine and adrenaline in human form. endless energy. no one knows why he is called maverick, but even the principal does it, so.

Mr Kerner is the principal. he is also the only person who can interrupt rehearsals and survive. dr kazansky loves him. inexplicably, maverick hates him. nough said.

Jake Seresin is the school's golden child, not even because he's Kazansky's nephew. he’s head boy. he’s on the school’s football/rugby team. he writes regular articles for the internal magazines. and this year, he’s playing Orpheus in the school’s production of Hadestown. everyone thinks it’s nepotism. it is and it’s not, jake just lost a bet to his Uncle Tom, and must now reap the consequences to said uncle’s delight.

Bradley Bradshaw has been stage crew since he was thirteen and an overworked runner, thank you very much. it’s his final show, he’s the DSM, and if fucking seresin ruins this for him, he will riot. dr kazansky should never let that happen. however, this is the same man who, last year, laughed when revealing that a screen on stage had turned off and bradley had to go on stage during the show to fix it. hm. maybe bradley should have re-thought his life choices. also: the turntable. the goddamn turntable.

other characters include: phoenix as eurydice, bob doing lighting, payback and fanboy as ASMs who flirt over the comms to everyones misery, cyclone as another drama teacher/stage manager,

maverick keeps turning up to rehearsals and trying to help because his favourite (cough only cough) godson and his favourite player are both interested in this stuff, so he should at least try, right? kazansky hates it until he doesn’t. kerner thinks it’s all fucking hilarious. bradley is embarrassed but its kinda endearing do NOT tell him i said that.

kazansky and maverick both bare witness to A Moment between their respective pseudo sons and decide the two simply must get together for their sakes and also so they never inflict that on another person ever.

bradley and jake both bare witness to A Moment between their respective pseudo fathers and decide the two simply must get together for their sakes and also so they never inflict that on another person ever.

kerner is cackling. Cackling.

[she-posts-nerdy-stuff]

Kanej - Orpheus & Eurydice AU

Hi lovelies, this is the third time trying to upload this so hopefully it works this time (and sorry to everyone who got tagged in posts that didn’t work properly and/or didn’t exist by the time you saw the notification), I am so incredibly excited to tell you that the first two chapters of my new Kanej fic “Somehow, Through the Storm” will be released on tumblr and AO3 THIS MONDAY (16th Sept)

This is a Hadestown-inspired take on an Orpheus and Eurydice reimagining, casting Kaz and Inej as our main characters. It will be a kanej centric fic but feature all of the crows, as well as aspects of wesper and helnik relationships, set in an alternate version of the Grishaverse with an adapted magic system. I’m so excited and I may or may not have gone a teensy bit overboard so with that in mind and with three days to go, please enjoy this trailer I made for the story!!

All songs are from the Broadway cast studio recording of Hadestown and the medley was made by me :)

Tagging everyone who has expressed interest but please don’t feel pressured:

@lunarthecorvus @marielaure @multi-fandom-bi @igotthisaccountunderduress @thelibraryofalexandriastillburns @devoted-people-hater @spraypaintstainonawhitewall

If anyone would like to be tagged when I post the chapters please let me know, and for people who are tagged in this I will not automatically assume that you want to be tagged again so if you’re still interested let me know I don’t want to be annoying and tag you in stuff you’re not interested in

[the-kr8tor]

Eurydice and orpheus au? (Hobie or r always looks back)

Just because someoke brought up hades and persephone (i love them)

And it made me think of hadestown of their love also having to be rekindled in a wayand everything

Anyways besides from that, i had a crush ona fictional character for 5-6 years and when i saw hobie it stopped. And now its back again. I have a thing for characters who wear mask?

Hobie brown, ekko (cause firelight masks), and kakashi hatake. Cause naruto was one if my first animes and when i was younger i fell in love with a masked shinobi. Boruto does not exist to me btw that series sucks and i wont get near it. And when i rewatched naruto (or some of it) somethings i realized now being older are off putting. LMAOOO still love kakashi hatake though, and this is so random (plus older men, and god he ages like fine wine. We did also get a face reveal od him once. The fans not really people in the universe. Its only canon that only like 4 people know what his face looks like)

Sorry for that tangent.

I love that myth sm I seem to always unconsciously add their theme in my different series

There's just something mysterious abt guys in masks 😍🥰 especially if their voices are hot too like mannnn I'm already on my knees with a ring in hand

[themaskedmuse]

Thinking about Hadestown right now, and I just want to point out how much unique character and the different levels of emotion Hades’ actor can put into the line “Where’d you get that melody?” From Epic III.

It’s an aspect I don’t think I’ve ever heard anyone talk about, but the delivery of the line is just so important to me for Hades as a character. It can hold so much in just the different ways it’s delivered, and how Hades connects to his past, and his love for Persephone.

I heard one take from Patrick Page that was full of anger. An anger from a Hades who is being faced by a boy who is singing his own song back to him. How dare this boy use his own melody of love that he made for Persephone all those years ago against him.

I’ve heard it spoken with a quivering tone, from a Hades who, after so much back and forth and arguing with Persephone throughout the show, has just been slapped in the face with a reminder of how it used to be, and where they started

I’ve heard it spoken with confusion and realization, from a Hades who has almost forgotten the melody, and is being reminded of it. Who has spent so long in Hadestown, desperately trying to hold onto what he fears he will lose, that he’s almost forgotten how it started.

Just… so much of how Hades connects with Persephone, and also to Orpheus, can come from that line, and I love the different choices in delivery that the actors who play Hades can put into that line to make the character their own.