#im worried it’s going to be an orpheus and eurydice situation

[harbingerofsoup]

currently suffering from “cries every time ms casey is on screen” syndrome

[anotherferalrat]

YALL I WAS COMBING THROUGH THE KAELUC TAG ON AO3 BC OCTOBER MEANS A FLOOD OF NEW FICS. WELL I FOUND A HADESTOWN AU AND IM SO GLAD SOMEBODY ELSE WROTE IT BECAUSE I'VE BEEN STUCK ON MINE FOR MONTHS AND SAYING IT FOR LONGER.

KAELUC ARE SO ORPHEUS/EURYDICE CODED AND HERE'S WHY:

For one, you have the perfect premise of Celestia being the Hades stand in, driving a wedge between them: Diluc/the Ragnvindrs being faithful to Mondstadt/Barbatos and Kaeya being cursed from a godless land (also I think Venti as Hermes is so funny and so tragic).

But I also think either could be Orpheus. They have such a complicated past that they both have reason to believe the other wouldn't follow them out of whatever Genshin's version of the underworld is: whether Diluc believes Kaeya would rather be "at peace" and not have to deal with the pain of their past or keeping up the lies of his history, knowing one day he'd once again have to choose between Mondstadt and Khaenri'ah or Kaeya believing Diluc has less trust in him than he actually does (he trusts him with his life, even now) and would refuse to follow him out. Just. A A A A.

NO WAIT HEAR ME OUT. JUST THOUGHT OF THIS.

Kaeya is Orpheus in this situation and Celestia will let Diluc go but they have to cross the Mare Jivari and ofc bc they both grew up in Mondstadt, they're mildly terrified, Diluc especially because as much as he's lost respect for the damned bard, this will be the first time he's not under his protection and they're both worried about his soul being trapped in the desert somewhere along the journey.

Also with the musical's ending implying an inescapable loop and the whole time god/loop theory, just the two of them forever doomed to be intertwined but never be together again (until a certain traveller is able to break the loop bc i need at least one instance of an orpheus/eurydice situation to work out PLEASE-)

Will probably post about this again but my brain is so fried from sleep deprivation and whumptober that i can't string together another coherent thought<3

[millionsknives]

hadestown thots (as requested):

first of all here’s a pic of the cast after curtain call sorry its only six pixels wide

also im pretty sure i was standing right next to one of the ensemble members (alex puette, tall guy standing behind orpheus in the picture) on the subway earlier that day

ok what is there to say about patrick page that hasnt already been said. i love it when he enters with ‘i missed ya’ and the people in the audience who aren’t familiar with the show are like wtf [nervous laughter]. the role was literally written for him so it’s no surprise that he just owns it but after seeing him my memory was wiped of the hades i saw on tour i genuinely cannot remember the other guy because patrick page is Thee Guy

eva noblezada STOLE. THE MF. SHOW. seeing her perform live changed me and changed fundamentally how i see the show. when i saw the tour in los angeles it felt like orpheus was the main character. but with eva’s eurydice it’s her world and we are just living in it. her eurydice wants so badly and it comes through brutally despite her insistence that she doesnt need anyone or anything and her fear to have anything lest it slip away. every note was exactly where it needed to be, the quality of her voice and technique is stupendous, even when she’s sobbing on her hands and knees her voice is clarion and pitch perfect. i saw her at the stage door after and SHE said thank you to US and i was like no no no no thank YOU.

jewelle blackman as persephone slayyyyed she’s kinda crazy and i love that for her, though i wish some of the vocals could have been altered to let her go into her super low range like she did when she played one of the fates

sayo oni was orpheus and i loved himmm. famously i am not a fan of reeve carney’s orpheus (sorry) so me n emma were elated to have a fresh voice in the mix. his voice was clear and sure and gorgeous and i had been kind of afraid that even if orpheus was really good he would b overshadowed by eva because she’s such a powerhouse, but they matched & blended well in skill and vocals and i had nothing to worry about. orpheus 2 me only works as a character if he’s naive and childlike and ya boy pulled it off so well.

malcolm armwood was a fantastic understudy hermes (pictured below at the stagedoor with his BEAUTIFUL family and/or friends), although i really REALLY wanted to see lillias white in the role just to see what flavors she would inject to hermes as a woman, mainly in her relationships w persephone and orpheus. but it was fun to have a young hermes bc most of the hermes that i’ve seen/heard have been like 40+ but armwood brought a youthful buoyancy to the role that contrasted with the aged hades+persephone but still seemed older and wiser and ageless next to sayo oni’s childlike orpheus

the fates were much more vindictive and close to villainous in this version. on tour they were a more neutral force

the tour didnt have the elevator in the middle of the turntable, instead there was a door that opened up to the back of the set with red lights that looked like the front of a train. (this was very cool and in some ways i liked it better bc the bway version just had the drum kit there instead). obv the elevator as the route to hell is unmatched when orpheus turns around at the end but my ideal production has both the train lights door AND the elevator for maximum effect so hades et al can exit/enter via the train or the immediate descent underground as the situation requires

[druid-for-hire]

UNSWAYED PT. III

(pt i) (pt ii) (pt iii) (you are here) (pt iv) (pt. v) (epilogue) (askblog)

this one’s got some revisions/retcons/refinings and new content. there will be some minor rehashing. this edition is more on the drama eurydice goes through on the path to find orpheus, orpheus’ deterioration in the Beyond, little bit of persephone and even littler bit hermes, finding orpheus, and finally getting to leave

thank you @supercantaloupe, @sonyalone, @unholy-boi, @s-aint-elmo, @ferretteeth for helping author this & help out w ideas and all!! sasha, u esp.

ok.

sits down and rests my old creaking bones in a rocking chair by the hearth and lights a pipe

gather round kids. this one might be a little long

one note: 

on the same night that orpheus falls, persephone, when she finally composes herself enough, marches up to hades. the fury is still present in the vitriol with which she speaks. “you can’t have done that,” she says. “you can’t have just thrown him away. he didn’t sign any papers. you can’t make him work.” 

 “there were no papers,” he agrees, “but prisoners do not get papers.”

ok jumping back to kind-of-present

it’s taking a while to find orpheus. (too much of a while)

in between work and searching for him, both of which already take up so much of her time, eurydice... makes her attempts to craft a new guitar. hades took orpheus’. he’s going to either want it back or want a new one, and right now, she doesn’t think she can manage the first. it’s going to be important to their escape, she thinks, because she isn’t planning on staying in hadestown forever

but she’s not skilled, and making a real, good, balanced guitar is incredibly hard. she’s not trained. it never comes out good enough, never remotely close to a properly tuned instrument, much less the guitar that seemed to fit perfectly around orpheus' hands. and she doesn’t have a lot of time

so as it turns out, stealing back the original is the more feasible option

problem being: it’s a trophy. hades didn’t smash it, but it’s locked away with his other little “victories,” and he’ll notice it missing eventually

(those other trophies are other relics from other daring humans he’s had to deal with in the past. no one has come as close as orpheus)

but she does have more buffer time than usual because it's also a reminder of the martyr and the fact that his marriage is in the shitter so it's been put out of sight (and out of mind), so she's got a few days or more before he'd notice it's gone

as she keeps searching for orpheus, telling her story and getting help and word of her spreading...

eurydice stirs the town as the ladle stirs in the pot; out of all the feelings her story wakes, the most dominant—and most important—is the anger.

and for the first time, somewhere in some could-be-anywhere part of Hadestown, someone says no.

the age-old, unmoving, immovable hadestown, begins to... change. there’s persephone’s crack in the wall, and then there are others, and then they join, and then there’s unrest, and then there’s the threat of riot.

(which i know i already established but shhh im reiterating my point for this:)

unholy-boi: hades was at least formerly hands on enough to give orders, to scrape down new souls, to preach about the wall

now he locks himself in his office, head in his hands, unable to handle the idea that he’s losing control, and every MOMENT he spends locked away he loses control more, but he needs to think, he needs to think, he needs to think--

The fates are at his door, they sing horrible music, things he doesn’t want to hear, lies and twisted truths to manipulate the king. except he’s not being manipulated at all. this is all him, he knows it--this is just him and his paranoia and the workers' rage beginning to boil on his doorstep.

the god is hidden away in his office and hardly lets anyone in. he isolates himself and Persephone barely even visits this winter anyway.

he wonders if the martyr boy really did fail.

(no, he tells himself--he did fail, because his goal was to get him and his lover out, and now both of them are damned here forever. all of this? an unfortunate side effect.)

hades... was very nearly swayed by orpheus, but took his “obligation” to a city (that he’s already lost) over the slightly breaking voice of orpheus, and the rumors. however when he sent orpheus away, things only got worse. but how could he just crawl to pull orpheus back now? would that not be sacrificing his iron will? his grip of steel? how can he turn to go back if he’s already made his decision? moreover- how can he trust bringing orpheus back will fix anything at all?

a lamenting reprise from hades with orpheus’ guitar would be cool. i don’t know if it’d be in character or appropriate to the story but. its been a fun thing ive been tossing between my hands

it probably starts when he accidentally kicks it over--there’s a trophy room, but he hasn’t cleared a space for the guitar yet. he kicks it over, and when it hits the ground the strings hum Menacingly at him

after the song he puts it away--out of sight, out of mind

show them a crack.

and they’ll tear down the wall.

besides the immediate danger orpheus is in and his voice failing being drives to find him as soon as possible, eurydice also has to worry about the fact that persephone won’t be there to help her soon. the hadestown debacle happens on the onset of proper spring

persephone, for once, is grateful that hades keeps her late. it means she can help the lovers. for so many weeks she sends  that boy’s voice on a wind straight for Eurydice to keep her going

but later is not never, and to the surface one day she goes, and bitter with the absence of his wife Hades drives them all to work harder

which strains Eurydice for time and energy even more

things are harder when she’s gone, as always—eurydice has less time to track him down, and without persephone’s sing-sing wind, pinpointing him is more difficult. 

Hermes is there at the station to greets her when she returns to end the winter

“how is he doing?” “not well.”

“you think they’ll make it?” “i don’t know.”

hermes asks her, “how long?” how long will orpheus last? how long will it take for them to find each other and leave? how long will it take until hades finally snaps? persephone can’t answer any of them

(hermes knows, of course. but he has a role to play)

the summer roars to life on top, but persephone can’t stop thinking about the lovers underground. she knows that orpheus won’t make it through the summer. she sneaks down below for two weeks in june and in that time, a hurricane devastates the surface without her to control it.

the sing-sing wind returns with a straining melody and eurydice wonders. she’s grateful, but she wonders

and... one day it doesn’t. she feels the breeze, but there’s nothing on it.

nothing.

i’ve fucking had enough, eurydice decides. i’m stealing that fucking guitar, hades be damned.

in the sleeping hours of hadestown she sneaks her way up to the palace, dodging searchlights and finding havens, already at an advantage because she’s scoured Hadestown so long and made allies in so many places

and when she makes it up to the palace, the... the guards, the hounds, all of them are... either missing or intoxicated to shit. which is odd, she thinks, but doesn’t question it

she makes it to the trophy room (after a Lot of searching, because she doesn’t have a map)

she walks in and marvels in awe at all the trophies

she wonders about the histories behind all of them

to be honest, she doesnt know that this is where the guitar is, but it’s a pretty good guess (and the right one)

and then there’s a sound at the doorway. eurydice freezes. there’s nowhere for her to hide

she turns, and... it’s persephone in the doorway. persephone, who should not be here.

they lock eyes for a moment, and then she points at a locked case in the back of the room and keeps on walking. whistling loudly. a very “nope, nothing here at all” move

... well, works for her

eurydice breaks off the padlock, gets the guitar, and flees

musing on kampê for unswayed because i really dont want her to just be a two dimensional villain: 

- homegirl is bitter. she used to rule the underground. she was the queen of the dark, and every god and titan knew her name, and hades did fear her too. 

until. well. 

and now she’s practically half-forgotten—a footnote. she hates it. hades and persephone are both her younger and yet they came into her realm, and she was shunted aside to this dismal little hole, and she has to answer to him and she fucking hates it. no mortal up Top or even in hadestown remembers her name. if an old dragon like her has no place out there... if she can’t make herself known in the outside world anymore, then she’ll fucking sear herself into the minds of the people she has, in the only way she knows how

(it should also be noted that homegirl is. unstable. i think kampê sort of violently switches between abhorrently vicious to weirdly sweet and manipulative and anywhere in between depending on the day/time/situation)

(also, she wasn’t always deaf. but being even older than the world, than hades and persephone, things... happen)

also, part of how she keeps everyone here is 1) working them to death and 2) telling them that they’re needed here, and that hadestown is an oasis of stability outside the chaos up Top

orpheus is not doing well.

orpheus forgets.

orpheus wears down.

(orpheus gets sick.)

whoops! That’s An Issue. but still he works, because no one can rest long, and the coal dust and ash and smoke and stifling heat do him zero favors

his focus drifts; he loses track of eurydice, of his songs. the work is first and foremost

you ever get worked so hard and pushed past your physical limit that u get like, spots in your vision and want to throw up? yeah thts orpheus

orpheus doesn’t stop sneaking off every day to the spot at the edge of the Beyond. he doesn’t sing out for help anymore, but... he sits, because he knows that it’s important. this place, where he sang out for a lover he doesn’t remember anymore with songs he no longer has

(cue Flowers but for orpheus, in quiet & faltering breathy lines)

he’s “forgotten a little thing called spring” 

kampê still comes after him to drag him back to work. sometimes it’s wordless; sometimes she yanks him to his feet by the straps of his overalls, sometimes all she needs to do is put a hand on his shoulder and he’ll get up and shuffle back into the mines and smokestacks

other times she asks why he’s still doing this, why he’s still out there. other times she tells him that there’s no need to come out here anymore. he shouldn’t have in the first place. out there--it’s no better than here.

the times when she yells--few and far between, because fetching him is hardly much of a chore anymore--he winces, since it’s not like she has the finest grasp on volume control, being deaf

the scene we see is her sing-speaking some fucked up reprise of hey little songbird, beckoning him to come back and taunting him; i didn’t write this one out but i imagine there’s some fun things to be had with the “vipers and vultures” line

and orpheus sing/saying, in this cracked, hoarse voice, “I wanna lie down forever”

he’s. so tired

(also singing his voice, long since shredded, sorta finally collapses in this one and i don’t imagine him having another sung line after that)

the canary in the coal mine isn’t dead yet but he will be

eurydice goes into overdrive after she steals orpheus’ guitar back

(she strums a few notes on it, and it hums warmly of sunlight in her hands. her chest fills with something indescribable. god, she missed this)

she takes more risks. sneaks out farther and strays out farther. skips out on work, keeps cutting close, nearly gets caught more often than she did before

eventually. finally. finally, she finds him, almost unrecognizable in the crowd masses, but she catches him alone

and she calls out to him, her arm outstretched, “come home with me.”

so i’m going w the “recognize her right away one” and following what i wrote in the first post

BUT: the callback to “come home with me i” with orpheus’ forgetting in “come home with me” “who are you?” is Too Fucking Good and I ended up writing my own lyrics to a “Come Home With Me III”

i’ll post it somewhere. i’d link the google drive link here directly but then tumblr would nerf this post off of the hadestown tag.

 you can play off of that if you want, toy around with it as a sort of small canon divergence to this au, but for the main one i’m rolling with what i already did in the first post... it’s unfinished btw there’s this small section i’m stuck on but i didn’t wanna delay this post anymore for something so minor

eurydice sees how much the beyond has ground him into the dirt—his eyes are sagging and half-lidded, dulled and shadowed and barely focused on her, miserable but too exhausted to feel

she sees this plenty in the ver. w/ Come Home With Me III before he remembers her, and for a moment in the other version before his eyes light up with recognition and suddenly it’s like some of the soot has sloughed off of him with the way his whole face lights up

also she shoves his guitar at him and he’s !! 

it’s. horribly out of tune though. he’s tuning it while they talk a little

but either way: the steam whistle blows, the signal to get back to work, and orpheus is immediately lowkey fearful and trying to get back before kampê catches them

eurydie is completely “oh hell to the fuck no i JUST got you back after MONTHS of searching you are NOT leaving”

orpheus is just afraid of what kampê’ll do if she sees them together, he doesn’t plan on leaving her -- he doesn’t hand her back the guitar, after all

again, kampê isn’t the most stable

then uhhh Whoops they spend too long there and she catches them, a la Papers

cue panic

cue tousling w/ eurydice and somehow getting kampê still enough (probably w pinning) to try and listen to Orpheus and she's just waiting to kick his ass because no music is ever gonna sway her, boy

(the dogs get placated by a few chords plucked out)

he can't sing, but he plays

and the other workers listen, and are moved

they are moved by eurydice's act of coming here after him

by listening to orpheus sing of love

by listening to orpheus forget, and deteriorate 

by having spent months listen to their love last and finally succeed with eurydice's arrival, this stalwart notion of hope

they didn’t ignore it. everybody knows the walls have ears

and they join by accompanying orpheus' song with the heavy metal sounds of the factories

they stomp, they clang, they turn grinding gears that crash and pound, in synchrony 

(where the little wheel squeals and the big wheel groans)

it’s a percussive song that they make

more than a simple tune, a steady beat, more than just the music of machinery

it shakes the entire Beyond with the force of the determination of a thousand weary souls, of the hopeless regaining hope for the first time in centuries

Forced through the percussive force of the entire Beyond, implicit in its rhythm and shake, is the old song. all of this old and rusted metal, all of this harsh machinery, all of it singularly resonant in the notion of la, la la la, la la la 

kampê feels it all through her feet and it rumbles in her chest, it shakes her to her very core and rattles her down to her bones, twists in her gut and forces in her fear and awe, and awe and wonder, and... something else

eurydice feels her loosen under her grip and backs off from pinning her and she still doesn’t move

at some point she lurches forward with her fist raised--orpheus doesn’t stop playing but he does shut his eyes, thinking oh god this is it, and eurydice rushes forward to pull her back

but she just... punches her fist into the ground by his feet

she feels everything not only through her feet but up her arm, more directly to her chest, to her heart, to her head

at last, swayed, feeling far more of something other than fear or anxiety or anger than she ever has in a long time...

she lets them all go

ok ngl there’s some blank spots here. i’m blanking here. idk how to transition

but

it's an entire exodus out from this tiny secluded part of Hadestown

The Great Beyond empties itself out and Kampê is left behind

the move is headed by Orpheus & Eurydice and the mood is very similar to the exodus from Egypt by the jewish folk in the movie Prince of Egypt

including the dark lighting, teal against the warm orange-yellow of their torches (lamps in this case), the wind, the craggy rock, everyone together, overall just the general tone

so during this walk from the Beyond to central hadestown with orpheus & eurydice more or less alone at the front is when Promises happens

it’s. a hell of a lot sadder here, but also a lot softer and more tender

orpheus’ lines are spoken like with Come Home With Me I / II coz he ain’t singin’ anymore. he can’t

and that’s the thing, he can’t sing anymore. 

all those things he said in wedding song, all his promises--that his voice would convince the world to give them everything they need

orpheus... doesn't have that anymore, or at least not nearly as strong, or traditionally lovely as it used to be

his voice was cut into pieces from the nasty shit air in the places he was sent to work

all he has is his guitar, and while he’s good at it, his real strength is in his poetry--it’s his voice and his words that makes the rivers and the trees and birds sing along

the people of the Beyond may have been inspired to percussion by his guitar, but they were more swayed by the notion of their love that was built up over the past few months ever since he got banished

so like. to walk with eurydice and be by her side for as long as he lives, is really all he can really promise her at that point anyway

it's not even that he doesn't have anything and broke the promise that he’d sing them all they needed. he can’t even do that anymore

the voice that charmed her, that said he’d provide for her, is gone

would she love him now, he wonders, if the great poet can no longer sing

and many thanks to @sonyalone for contributing this:

he offers his devotion to her. the only thing he has that’s worth anything, the only thing he can do. and when he does hes so afraid that he'll see in her eyes the understanding disappointment, the pity and "i suppose so" that he fears, but he finally raises his head and he cries because her eyes are shining with joy and love and hope. thats all she ever wanted from him. she just wants to be with him, voice or no, amenities or no, and hes never felt so loved

he weeps, and she weeps--from grief and relief and love--and they hold each other close

sheltering under each other

and they have never been more secure in their love

he walked the whole length of the railroad into hell for her, he survived in the pit for her, she scoured the underworld for him, she came for him and she's keeping him

and the return of all these workers startles everyone in central hadestown and a lot of the work gets stalled out

which, of course, draws hades’ attention.

tune in next time for more on this shit ✌️

(pt i) (pt ii) (pt iii) (you are here) (pt iv) (pt. v) (epilogue) (askblog)