#not sure how well it fits with the story of orpheus and eurydice bc i spark notes learned the story lol)

[manitapaleta]

Thank you for your time, thank you for your mind,

But I don’t ever want to fall in love again,

GONE,GONE/THANK YOU Tyler, the Creator

clean vers.

[yakultberry]

daffodils in winter (1); l.jh

✪ summary: in ancient times, only two lovers were able to sway hades into granting them a second chance at life together. even so, a single look back doomed their love story to inevitably remain a tragedy. but is fate truly set in stone or are we able to mold it with our own hands?  ✪ pairing: orpheus!jihoon x eurydice!reader  ✪ genre(s): angst, fluff, reincarnation au, modern greek mythology au, just,,,, a lot of pining ✪ word count: 3.2k words 

✪ a/n: surprise @custardheart​!! i’m your cwc secret santa! c: <33 i had so much fun trying to not to make it obvious that it was me HAHAH i even told you my dog’s nickname in case you had seen him before. i always love our conversations hahah it feels like we could just talk for hours and hours, especially since we have so much in common hehehe you are literally one of the sweetest people i know on cwc and i’m so glad to call you my friend!!

anyway, this took me so long and it’s not even complete 😔 i really wanted to try making a fic that caters to you and all the things you like reading so i just tried throwing it all in there LOL also peep the banner bc i tried to imitate your blog aesthetic too (which i LOVE by the way). since i didn’t want to leave you empty-handed or for you to think i forgot about you while i complete this fic, i decided to just release it in parts adkjsfals hopefully that’s ok!! 

merry christmas and happy new year, taylor!! I LOVE YOUUU 🥺💖

It was nearly 10pm but the night was as lively as ever with people bustling and weaving along like the small stream that flowed through the middle of the stone-paved walkway. They strolled down the worn path on which thousands of footsteps had passed before them, their breaths lingering in the December air as they laughed together and whispered soft wishes. The harsh bite of winter never deterred couples from coming  out to the walkway; in fact, many lovers used the cold as an excuse to clasp each other’s hands tighter, to press their warm bodies closer together. Even on the harshest nights, the walkway welcomed a handful of couples who would stay until the early hours of the morning. 

This could, in part, be attributed to the walkway itself, or rather what could be found on the walkway. Anyone who stepped along the trodden path would soon find the walkway’s source of life and warmth: a flower stand. Now there were many walkways with flower stands, some even host more than one stand, but none ever seen like this. Even in the middle of winter, the humble stand teemed as though it were early spring with its variety of soft pink tulips, vibrantly purple violas, dainty white snowdrops, and daffodils so yellow they nearly glowed. Each flower was in almost unnaturally pristine condition-- there was never one droopy petal or dried up leaf. Rumor stated that if you bought a bouquet for your significant other, your relationship would surely last a lifetime, outlasting the winters that you might endure. 

Jihoon, of course, knew that this was all a very elaborate marketing scheme to lure out crowds of hopeful couples. While he didn’t have a green thumb himself, he figured that technology must have advanced enough to allow for such beautiful flowers to exist despite the cold, but he wasn’t all too invested in finding out the how’s and what-for’s of the small stand. As long as it brought out the crowds, Jihoon couldn’t care less if the stand scammed naive romantics into throwing away their money for some flimsy symbol of everlasting love. What mattered to him was finding an audience, and he knew, without doubt, that he would find one here. He could already feel the lingering eyes of passersby as he arranged his amp and microphone, filling him with a bubbling anticipation that made his fingers itch for his guitar. 

Despite the tattered appearance of the case, the guitar within seemed to be lined with gold along its edges, gleaming fantastically under the light of a street lamp. Upon closer inspection however, it was apparent that the instrument was well-worn with its own array of scuffs and scratches along the neck and body from its many years of performance. The guitar fit into Jihoon’s hands as if it were molded to be held by him, and he smiled to himself as he strummed each string to check for tuning. Just like that, he felt home. 

“Do you always have to set up so close to me?” At the sound of your voice, Jihoon felt his grin widen, and he immediately looked up to make sure that you saw it in all its smug, cheeky glory. You stood to the side with a pair of stem clippers in hand, which he might have found intimidating had you not been holding a daffodil in the other. The endearing smile that itched at the corners of your lips didn’t do much to scare him either.

“This is where all the foot traffic is, so yes,” he mused teasingly. He then pointed to the flower in your hand. “I see you’re getting ready to shower me in flowers after my performance. People usually throw roses though, you know.”

“Okay, just don’t let it get of hand this time,” you said over your shoulder, already turning back to return to your flower stand. He didn’t dare look away, because on your third step back, you always twirled to face him for a moment to flash your unfaltering smile at him, which he mirrored.“The whole neighborhood must have thought you were having a concert with all the people that came out.” 

“That wasn’t my fault!” he called after you, but you had already returned to your post, greeting several new customers who looked at your bouquets with awe and wonder. 

As you began to gather flowers for a couple’s request, you could hear Jihoon finally open his set with a healing, energetic tune that had the small crowd clapping along to the beat. The first time he had come out to the walkway, it had shocked you how the first note he strummed had immediately taken a hold of you, how it had somehow melted your concentrated frown into a smile with ease. It had been the end of a long day and you were ready to close up shop when a boy had set up for a busking session nearby. Although he only brought one small amp, you felt each note resonate in your chest, and felt the music brush your skin as though it hung in the air like a mist. Suddenly, thoughts of your stressful day had dissipated, dissolved by the boy’s guitar and clear, pure voice. It was unlike anything you felt before.

And yet, it was so easy for you to give in to the enchanting sensation, falling into its embrace like you were reunited friends.  

Now you anticipated the way the melody gently tugged your lips into a smile and how your heart beat seemed to fall into rhythm with each chord. You knew you weren’t the only one so strongly moved by the music though. The customers you were currently tending to, a young couple new to the walkway, had immediately turned their heads towards Jihoon as he continued his set with another lighthearted tune about confessing and butterflies. Their sparkling eyes told you that you weren’t the only one moved by Jihoon’s music, and you couldn’t help but notice how they subconsciously reached for each other’s hands, fingers intertwining fondly. Much to your concern, a wistful sigh escapes your lips at the sight. Your eyebrows furrowed as you felt a dull ache blanket over your chest. 

You tried shaking your head to rid yourself of the feeling, rushing to finish wrapping up the flowers in brown paper and string. “Your bouquet is ready!” you said much louder than intended, snapping the couple from their daze. Both blinked in surprise at their clasped hands as if just realizing how close they’d gotten, and you bit back a giggle when they could no longer meet each other’s eyes. Much like many of your other customers on the nights that Jihoon busked, they immediately joined his audience after paying, unable to get enough of his sweet voice. You stared after them for a bit, feeling somewhat intrusive as they overcame their initial hesitance and held hands once more. And suddenly it was there again: this time it felt more restless like you were waiting, but for what, you didn’t know. 

It wasn’t the first time you felt this way.  In fact, every time it creeped up on you like this, it frightened you how it settled in the pit of your stomach so effortlessly as if it had made a home there, deep inside you. It made you feel like you had been waiting for tens of thousands of lifetimes. Like you had been waiting so long that you forgot what you were waiting for.

At this point, you weren’t sure if you wanted to remember. 

Throughout your life, the weight in your chest had made itself known only a handful of times, usually in quiet moments when the dark felt like it could swallow you up. It was the reason why you took refuge in the bright hustle and bustle of the walkway and why you lingered if only to be surrounded by your flowers. But now, it followed you even in the middle of a crowd, in the midst of the music. 

“Hi! Could I get some roses?” The voice of a new customer finally tugged your attention from the couple, allowing for the pressure in your chest to dissolve for the moment. 

 “Of course you can, sir,” you chirped, relieved for the distraction. “What color?  Would you like a bouquet?”

The customer, who stood alone, seemed to wiggle in thought. “Red, I guess! Don’t worry about wrapping them up! I’ll just take them as is, since I’ll be throwing them to that busker over there.” 

“Oh! Wow, he must have made a real fan out of you, sir.” 

At your statement, he let out a chuckle. “Oh, for sure. I wish he chose a warmer venue though.I guess that can’t be helped,” he said, giving you a meaningful nod, eyes gleaming as they always seemed to. You were taken aback by the sudden realization: You’ve met him before. 

“Right,” you replied absentmindedly, forcing yourself to focus on gathering the last of your customer’s order in an attempt to mask your bewilderment. You were positive that you had never seen this man’s face in your life, yet you were struck with the insistence that not only did you know him, but that he knew you too. He was there, somewhere in your memory. But the closer you tried to get, the further you seemed to step into a murky fog; was it a far away memory or was it just a dream? Chancing a glance at him only served to fluster you even further, especially with the way his smile made you feel as though he could sense your inner bewilderment. You cleared your throat and timidly returned his smile as you handed him his roses. “Anyway uh-- here is your order, sir! He’s about to play the last of his set, so you should probably get over there. Hopefully he likes them!”

“Oh, I’m sure he will love them,” the customer grinned, placing cash in place of the flowers. “Well, I’ll see you around!” 

And with a quick wink, he made his way to join Jihoon’s audience, and once more, you were left to deal with your thoughts on your own. What was it with the customers and launching you into emotional reveries tonight? You decided that that was a good excuse as any to close up shop for the night; you weren’t sure that you’d be able to handle another bout of deja vu or inexplicable longing. Plus you wanted to properly watch Jihoon’s last song, as you always did. You glanced over at him as you cleaned up,  but you were quick to avert your gaze when he suddenly met your eyes and offered you a wide grin. 

As much as you enjoyed his music, you couldn’t ignore how his appearance in your life coincided with these recurring feelings. It was perplexing how it seemed that with one strum of his guitar, he somehow brought you both comfort and simmering unease. But if you were being honest, you couldn’t say you hated it. You knew that if you asked him to set up  a little more upstream, your flower stand would undoubtedly become your haven once more. It was an easy fix. Simple. But even when his weekly busks frequented to every other day, you only found yourself clutching tighter to that moment of elation when he began a performance. 

When you stood there and listened to him play, you had a growing certainty that you would go through any length of suffering if it meant you could keep that moment. 

Jihoon was barely able to sing his last note when the crowd drowned him out with applause and, to his surprise, showered him in several roses from the stand. He caught one in his hand, eyes shining with laughter as he immediately searched for your face. Instead of finding you though, he caught sight of someone that wiped the smile from his lips. Before he could so much as curse under his breath, the man took hold of his microphone and addressed the audience.

“Bravo, bravo! Ladies and gentlemen, please give another round of applause for Woozi, Olympic Entertainment’s feature producer! Woo!” the man boomed a little too close to the mic. “Olympic Entertainment sincerely thanks you for all of your love and support from this past year. We hope that you can continue supporting us and listening to Woozi’s ballads in this upcoming year. Please be on the lookout for his new single that we will be releasing on New Year’s Day!”

As the crowd erupted into murmurs and whispers, the man turned to beam at Jihoon, who replied with a stare as cold as the wind. “Soonyoung, what are you doing here?”

“The boss wants you to stop screwing around and get back to the studio,” Soonyoung said with a shrug. 

“I’m not screwing around! You know damn well why I came out here--”

“Hey, those were his words not mine-- I’m just delivering them.” Jihoon tensed when he felt Soonyoung’s hand on his shoulder, having half a mind to shrug it off. He knew though, that Soonyoung had little choice when it came to the boss’ word, and neither did he. There was no use in taking out his frustrations on his friend, especially when the damage was already done. “You know that I would never have taken it that far if I didn’t have to.” 

Jihoon sighed, nodding. “I know. I’ll just see you tomorrow.”

The crowd gradually dispersed as Jihoon packed away all of his equipment, and suddenly, he felt the full force of winter without the warmth of the crowd shielding him. He hadn’t expected that it would be so cold. After his previous busk sessions, several people in the audience would stay a while longer and approach him, usually to make conversation about his music or to simply thank him for the performance. Now they kept their distance, looking his way discreetly while they whispered about who he really was like he couldn’t hear them. Jihoon scoffed and slammed his guitar case shut, numb fingers fumbling at the clasps.

“Are you okay?” He didn’t have to look up to know that it was you. 

“I’m fine,” he huffed out, jaw clenched. When you didn’t make any move to leave, he gave in and looked at you, a grave mistake on his part. At the sight of your sympathetic smile, he sat back down on the bench; there was no use struggling to put up a front when you seemed to see right through it anyway. You sat on the opposite end of the bench, facing him to show that you were there to listen. After all those times he came here, this was probably the closest you’d ever gotten to him, and yet Jihoon found himself wishing you had sat closer. “Well, I’ve been better.” 

“I’m sorry that I sold that guy those flowers. If I had known that he was going to do that, I--” 

“No, that was all on me,” Jihoon said quickly, unable to let you apologize any further when you were merely doing your job. “You probably think I just came here for some promotional stunt.”

“I mean I didn’t, but now that you mention it…” Without knowing it, Jihoon let out a chuckle at your teasing.  “Even if it was for promotions, I don’t think anyone here would mind. Plenty of people busk to promote themselves. I don’t think that makes their songs any less genuine.” 

He shook his head, the sigh that left his lips hanging in the air for a moment. “I mind. I love my job and everything, but I really needed a break from all that extra stuff. I came here because I knew it would just be about the music. No one had stopped to listen because it was my music or if it was a Woozi production or whatever. They only listened because they liked it. Now I won’t know if that’s actually the case.”

“I don’t see why they can’t enjoy your music while knowing who you are,” you said, eyebrows scrunched together, and Jihoon watched as you rested the side of your head against the back of the bench. Have your eyes always been this captivating? You dropped your voice to a stage whisper. “Is that your secret? Is your music magical only for those who don’t know your true identity?”

“Something like that. Isn’t my music a bit more impressive if I’m just a regular person and not a professional producer?” Jihoon laughed. “I mean, imagine if people knew the secret behind how you grow your flowers in the winter. Don’t you think they’d be less inclined to buy them?” 

You snorted. “I don’t have a secret, though?”

“Oh come on, you literally sell springtime flowers in the winter! You must get them imported or have some kind of fancy greenhouse.” 

“I literally can’t even rent a space to sell my flowers indoors. I can’t afford any of that! They’re just flowers that I’ve grown in my garden. I tell people how I grow my flowers all the time and it doesn’t change anything. It still means something to them,” you said insistently. And then, softer, “Just like how knowing you’re some big shot producer doesn’t change the fact that I’ve never heard music like yours before.” 

Jihoon swallowed, wanting more than ever to close the distance between the two of you. It was a gravity that he felt ever since his first performance, something he had originally attributed to the walkway and how perfect it was for his busks. As he sat here beside you though, the force seemed to tug at his chest almost painfully until it was aching. With his hands clenched, he tore his gaze away from you, unsure of what he was going to say next. His thoughts were fuzzy, like a static television screen going in and out of focus, and the only image he could make out was you. Or at least he hoped that it was you. 

“By the way, ballads? I’ve only ever heard you play happy songs.” 

“This was the only place I could play them,” Jihoon replied quietly. When his eyes met with yours, he was taken aback by how much he meant it; even if he tried to play these songs in the studio, he was certain that it wouldn’t be the same at all. Forcing a smile, he finally met your eyes again. “It was nice while it lasted.” 

“Wait, are you not… are you not going to come back anymore?” 

“I don’t think I should. There wouldn’t be any point, right? Since people know who I am now.” 

“Oh.” I still don’t know who you are. This time, you were the one to turn away from him, a small frown on your lips. A harsh wind came in then, ruthlessly rustling the bare branches of trees and lifting loose petals from the ground around your stand. They swirled in the air wildly for several moments before raining down on where you and Jihoon sat in silence. Seeing how he shivered, you took the scarf off your neck and wrapped it around his own. “Here take this.”

“W-what about you?” When he moved to return the item, you shook your head and smiled.

“I’m used to the cold.”

[all-seeing-ifer]

Greek mythology references in Ulysses Dies at Dawn masterpost

I saw a post a while back by @spacetrashpile analysing all the arthurian references in High Noon Over Camelot, and since I know quite a bit about Greek mythology I figured “hey! I should do something like that for Ulysses Dies at Dawn!” I’m just going to go through each of the songs in order and analyse/explain the references in them - hopefully other people will find it interesting!

“The City”

Starting with the title - Ulysses is the Latin name of Odysseus, legendary king of Ithaca and hero of the epic poem The Odyssey. Interestingly, Ulysses is the only character in UDAD who is given a Latin name instead of a Greek one. There’s a couple of potential reasons for this but the most convincing to me is it’s meant to reflect Ulysses’ opposition to the Olympians, who are all based on the Greek gods.

Jonny calls the story a “labyrinthine task of a twisted tale”, referencing the Greek myth of the Minotaur, which was kept in a labyrinth to hide it from the world. This reference becomes even clearer when we later learn the City’s original name.

This one’s less a reference to Greek mythology and more to like, actual history, but the description of the City expanding to cover the whole planet is reminiscent of Greek expansion in ancient times. Ancient Greece was made up of many city-states, or poleis, which established colonies or “daughter-cities”, mostly in western Asia, or “Asia Minor” as the Greeks and Romans called it.

The story opens at a “run-down gin join” called Calypso’s - Calypso is a sea nymph who plays a fairly major role in The Odyssey, keeping Odysseus/Ulysses trapped on her island for seven years.

Fittingly enough, Calypso’s apparently pays money to Dionysus, whose mythological namesake is the Greek god of wine.

Broken Horses

Ilium is the Ancient Greek name for Troy, the city that Greece went to war against, according to myth,. Part of this war is described in the epic poem The Iliad, in which Odysseus is one of the soldiers laying siege to Troy.

Much like the Trojan War of Greek myth, the siege of Ilium is said to have lasted a decade.

Ulysses’ gambit with the horse statue sending out a signal driving the people of Ilium mad is pretty obviously a reference to the Trojan Horse - the wooden horse the Greeks built as a “peace offering” to the Trojans that they used to sneak their soldiers into the City and that brought them victory in the war. Like in the UDAD version, Odysseus/Ulysses was apparently responsible for coming up with this plan.

“Olympians”

Ulysses’ wife is named Penelope, same as Odysseus’ wife in the myths

The Acheron is the name of one of the five rivers of Hades, along with Styx, Cocytus, Lethe, and Phlegethon

As a sidenote, in Greek mythology Hades is the name of the underworld as well as the name of the God of the dead - fittingly enough reimagined in UDAD as the controller of a vast network of half-dead minds (and also Ashes)

The most powerful families in the City are called the Olympians - the name given to the twelve most important deities in the Greek pantheon

Poseidon Industries is named for Poseidon, Greek god of the sea and one of the twelve Olympians. Jonny calls them “one of the architects of the Ilium War”, which seems like an odd reference since iirc Poseidon doesn’t have a whole lot to do with the Trojan War. I guess that’s just there to give Ulysses a reason to want to rob Poseidon Industries.

In the Odyssey, Poseidon hates Odysseus/Ulysses for attacking his son, a cyclops called Polyphemus. In UDAD this is changed to Ulysses stealing the diamond from Poseidon Industries’ laser, which is also called The Cyclops.

My Name is No One

The song’s title and chorus is a reference to Odysseus’ famous trick for escaping the Polyphemus’ cave. He tells the Polyphemus his name is “no one/nobody” (depending on the translation) so that when he attacks Polyphemus and the cyclops tries to call for help, he calls out “No one is attacking me” which obviously none of the other cyclopes take seriously. (There’s also a great pun in the original Greek based on the Greek words for “no one” and “cunning” being very similar, but it loses a lot in translation)

However, just like in UDAD, Odysseus messes up this plan badly by calling out his real name when he’s still too close to the island of the cyclops. (although in the Odyssey it’s motivated by him wanting Polyphemus to know his name so he can get glory, rather than just being drunk)

Odysseus bests the cyclops by taking out his eye (there’s debate around it but cyclopes are generally depicted as having only one eye). Obviously in UDAD the cyclops is a machine not a monster, so this is replaced with the diamond at the heart of the laser being called its “eye”.

Also, I’m not sure if this is an intentional reference, but there is a fun irony to the fact that in the Odyssey, Odysseus tricks Polyphemus by getting him drunk so he can then blind him, while in UDAD Ulysses steals the eye of the Cyclops while drunk themself.

“Trial By Wits”

As well as My Name is No One, the whole concept of no one knowing anything about Ulysses’ appearance, gender etc. could also be seen as a reference to the “My name is nobody” trick, or possibly just a spin on Odysseus being a kind of “archetypal hero” - they could be anyone!

Heracles is better known by his Latin name, Hercules (son of Zeus, demigod, inhumanly strong and all that jazz)!

Ariadne is the name of the Cretan princess who helped Theseus slay the minotaur

Orpheus is another of the most well-known Greek mythological figures - the main myth surrounding him says he went into the underworld to rescue his dead wife Eurydice

Oedipus is most famous as the main character of a famous tragedy. His parents are given a prophecy that he would kill his father and have sex with his mother, and so decided to abandon him. As is so often the case with Greek oracles, he ended up doing both things anyway, seeing as how he, y’know, didn’t know who his parents were. The mechs apparently chose to reference this in the most mature of ways by having Jonny call Oedipus a motherfucker. Kind of a lot.

Aside from committing both patricide and incest, Oedipus’ other achievements in myth included winning a battle of wits against the Sphinx, a monster that was killing anyone who couldn’t solve its riddle. This monster is reimagined in UDAD as a disease that Oedipus finds a cure for.

Riddle of the Sphinx

The chorus of the song is taken almost word-for-word from the riddle asked of Oedipus by the Sphinx: “What goes on four legs in the morning, two legs at noon, and three legs in the evening?” The answer to the riddle is “man” - crawls on all fours as a baby, walks on two legs as an adult, and walks with a cane (third leg) in old age. The Mechs being the Mechs, this is made completely literal in the world of UDAD.

“Ulysses’ Will”

Like the Oedipus of myth, UDAD Oedipus also ends up killing his father and marrying his mother without knowing. Since he’s replaced his eyes with data sockets by the time he helps kidnap Ulysses, it’s pretty strongly implied that he blinded himself like mythological Oedipus as well.

The “twenty years of sirens” could be a reference to the twenty years Odysseus spends away from Ithaca in the Iliad and Odyssey

Sirens

The sirens were half-bird half-human creatures that Odysseus encountered as part of the Odyssey and that tried to lure him to his death with promises of knowledge.

As well as referencing this story, the line “let the lotus set you free” references another episode of the Odyssey, where Odysseus and his crew arrive on the island of the Lotus-Eaters. Anyone who eats the Lotus fruits falls into a state of apathy and will never want to leave the island, so it’s a fitting episode to reference in a song about Ulysses drugging themself to escape their memories of war.

“Trial By Strength”

Heracles’ backstory is essentially the same in UDAD as in the original myths: one of the many children of Zeus’ many affairs, except in UDAD Zeus has affairs with women from “the lower levels”, instead of just mortal women.

Favoured Son

The tasks Heracles performs for Zeus are a reference to the most famous myth about Heracles - the twelve labours he performs to atone for killing his family.

The song references “the ferryman” who takes people into the Underworld. In Greek mythology the dead travel to the Underworld in a boat rowed by the ferryman Charon.

In both the myth and in UDAD there are...what you might you might call “extenuating circumstances” for Heracles killing his family - in the myth he’s driven mad by Zeus’ wife Hera (bc she’s very angy about Zeus having all those bastard children with mortal women) but since Hera doesn’t play a role in UDAD this is changed to him being framed by Zeus himself.

In addition to being king of the gods, Zeus is also the god of thunder - which is where Heracles’ nickname “The Thunderbolt of Zeus” comes from

“Loose Threads”

Heracles and Orpheus “Backing up Jason on the fleece job” is a reference to the myth of Jason’s quest for the Golden Fleece along with his crew (the Argonauts), which included Heracles and Orpheus.

Hylas was Heracles’ servant and another member of the Argonauts. While on the quest he was kidnapped by nymphs, and depending on which version of the myth you’re looking at, either fell in love with them and stayed there forever, or was murdered by them (Hylas is also the only character referenced I had to google to even know who they were lol)

Heracles telling Ariadne that “Your dad helped me out once” is presumably a reference to the seventh labour of Heracles: capturing the Cretan bull. Now the story of the Cretan bull is actually really long and ties into a bunch of other myths but essentially it was sent to Ariadne’s father, King Minos, as proof that he was the rightful ruler of Crete. However, Minos ended up helping Heracles by letting him take the bull with him to prove that he’d successfully caught it (which seeing as the bull was destroying Crete at that point doesn’t seem like a huge favour on Minos’ part, but ok)

Trial By Song

UDAD Orpheus shares the mythical Orpheus’ main defining trait: his skill at singing that he used to help him on his journey to the underworld.

Trial By Song is a lot more metaphorical than all the others so there’s not that many direct references to the myth of Orpheus and Eurydice in the lyrics - probably the most direct one is “But all the landmarks moved as I walked past/Now I can’t look back”, which references Orpheus’ deal with Hades that he can take Eurydice back to the world of the living as long as he doesn’t look back at her.

“The viper town that bled me dry” could also be a reference to Eurydice’s death from a snake bite.

“Hades”

UDAD Orpheus’ motivation is the same as mythical Orpheus - wanting to bring back their dead lover from Hades.

Ulysses, Heracles, and Orpheus all visiting the “underworld” is taken directly from mythology (although unlike in UDAD, Ulysses/Odysseus never actually speaks to Hades).

Underworld Blues

In Heracles’ confrontation with Hades, he says that “I was sent here your dog to seize/Of my tasks, of my tasks/This was to be the last”. There’s a couple of points here - the mythology reference is to the last of the twelve labours of Hercules: capturing Hades’ guard dog Cerberus. However, I do wonder whether this is meant to be literal (in which case guys, why are we not talking about the fact that Ashes obtained a pet dog while in The City?), or if this is a similar case to all the mentions of ‘horses’ in High Noon Over Camelot actually being about motorbikes.

Orpheus singing to Hades and trying to convince them to release Eurydice is also taken directly from Greek myth, except instead of being moved by Orpheus’ song and agreeing to release his love like in the myth, Ashes just tells him he’s poor for a bit and then says he should go commit some crimes.

“Trial By Love”:

The general concept of Ariadne’s backstory - her helping Theseus fight the minotaur only for him to abandon her - is the same basic idea as the myth of Ariadne and Theseus. Although UDAD Ariadne is at least a bit more fortunate in the sense that she wasn’t truly in love with her Theseus, and he also doesn’t straight up leave her on a deserted island.

Ariadne’s family creating the minotaur is also part of her character in the myth. The difference is that in UDAD the minotaur was created intentionally, while the mythological minotaur was the result of Poseidon making Ariadne’s mother fall in love with the Cretan Bull as punishment for King Minos not sacrificing it to him (I said the Cretan Bull story tied into a bunch of other myths!)

The presence of the minotaur in the City is yet another thing that makes even more sense when we learn about the City originally being called Labyrinth!

Ties That Bind

Ariadne’s family name is Minos, same as the name of her mythical father King Minos.

Ariadne describes her family’s actions as casting a “dark horned shadow” over her, which references the typical depiction of the minotaur as a man with a bull’s head and horns.

In the myth of the Minotaur, Ariadne helps Theseus by giving him a ball of string that he then unwinds as he walks through the Labyrinth, letting him find his way out again. In UDAD this is changed to “strings of code”, that shut down the minotaurs programming. (And if you think that pun’s bad, just wait until we get to Torn Suits!)

The song’s title also brings to mind string or thread, so it can be seen as a subtler reference to Ariadne’s gift to Theseus. Same for Ariadne’s line about “heartstrings long since cut”.

“The Daidala”

Daedalus, the leader of the Suits, shares a name with the mythical craftsman and father of Icarus

He is rumoured to “trade as an Olympian under the name Hephaestus” - a fitting alias as Hephaestus was the god of craftsmen and artisans like Daedalus

The rumour that he killed his son for “getting too ambitious” references the myth of Icarus, who famously died after literally flying too close to the sun using wings held together with wax. The heat of the sun caused the wax to melt and Icarus to fall into the sea. The story is often interpreted as a warning about the dangers of ambition.

Interestingly, it could also reference another myth surrounding Daedalus - one in which Daedalus kills his nephew Talos because he was jealous of his achievements.

Daedalus is also apparently the architect of The City, which was originally known as Labyrinth. This once again references the labyrinth which held the minotaur, and which Minos forced Daedalus to design. Considering the labyrinth’s purpose in myth, it seems like an appropriate name for a city that keeps all its inhabitants trapped with no way out.

Presumably the Daidala in the title refers to the City: Daedalus’ finest creation. In Homeric Greek, daidala is a word that refers to finely crafted objects such as armour.

This track also has another reference to the Orpheus and Eurydice myth when Orpehus offers to sacrifice himself to open the vault - “But he can’t see it through can he? Flinches, looks back. And it doesn’t work.”

Torn Suits

This song is notable for having quite possibly the worst pun in Mechanisms history - “Ulysses pulls out their snub-nosed laser and fires the last shot, splitting the beam across twelve axes”. This references one of the climactic scenes of the Odyssey, where Ulysses/Odysseus wins an archery competition against his wife’s suitors by shooting an arrow through twelve axe heads. (get it, axes as in the weapons becomes axes as in the plural of axis do you get it?????)

Another, marginally less bad pun is Heracles getting “the lion’s share” of the beams, referencing the popular image of Heracles wearing the skin of a lion he killed as one of his labours.

“Sunrise”

The code to Ulysses’ vault: Elysium, is another word for the Elysian Fields. In certain Greek religions, this was an afterlife separate from Hades’ world where heroes and those chosen by the gods would go after they died.

Ulysses’ vault is revealed to contain the “sole surviving oak tree”, under which Penelope is buried. While it’s not as direct a reference as some of the others, this is pretty clearly inspired by the way Odysseus proves his true identity to Penelope at the end of the Odyssey - by telling her that he carved their bed from a tree still rooted to the ground, something only the two of them know.

The track ends with an homage to Homer’s use of similes in the Odyssey: “And as the weary hound, once more at its master’s feet after so long, lays down with the sunlight warming its fur, breathing its last – even so did the eyes of Ulysses close forever.” Not only is this stylistically identical to Homer’s similes, it also doubles as a reference to Odysseus’ dog Argos, who waited for him for twenty years and finally died when he saw Odysseus again.

Elysian Fields

This is possibly a bit of a stretch but the image of Ulysses lying beneath the last tree, next to where Penelope is buried, especially with how they say they’re “with my beloved” and “beside my wife” really brings to mind the scene in the Odyssey where Odysseus and Penelope lie in their tree-bed together for the first time since Odysseus’ return. Which, incidentally, is theorised by some to be the “real” final scene of the Odyssey and everything after that was added on later, but that’s another story.

That’s everything I’ve picked up on but it’s possible there’s more I’ve missed so let me know if there’s any more! I’d like to thank the Mechs for giving me an opportunity to put my useless and extremely niche knowledge to good use!

[notesofarichlycolorednight]

OBC Hadestown Recording Review by a Non-Professional that you didn’t ask for

Alt. click-bait title: THEMES! THEMES! THEMES!

so i just listened to the Hadestown OBCR

so as practice, i’m going to do this review (i have a lot to say if you hadn’t noticed) like a sandwich--positives, mixed, neutral, negatives, more positives

and yes, I compare it to the NY version. it would be Impossible for me not to, considering that’s all I had for years. but I did listen to it with an open mind and wide-eyed excitement

YAS QUEEN

Amber Grey and Patrick Page, lovely as always

I’m glad they introduced Hades in “Road To Hell” also that Hermes is like...is there another god? oh yeah, ME!

Eva Noblezada was AMAZING and I love her Eurydice

Reeve Carney sounds like an wide-eyed, naive, optimistic musician and it’s Wonderful

the overall themes and a more cohesive story--like there were of course themes threaded thru the NY recording, but the themes were much stronger in this version

Hermes being Orpheus’s mentor, rather than just the narrator and occasionally interacting with Orpheus bc he can? the exchange between them reads less like “I’m kind of picking on your bc you’re an artist” and more like “yikes, bro, you messed up. and bc I’m your mentor, and the god of Travelers, I’mma help you out a little”

oh yes, LOVE LOVE LOVE “Wedding Song” and oh, I LOVED that he sang his song in this version (hope to see what happens on stage some day ;_;)

the OBC version of “Livin’ it Up on Top” is still fun as always and I love they included the joke “to hell and back”

Orpheus’s lyrics in “All I’ve Ever Known” are So. Soft. our soft, poor boy Orpheus

Reeve and Eva’s voices fit together really well and I’m cry

“A Gathering Storm” is just Gorgeous storytelling right there, mmhmm. And oh shit, the “It’s not supposed to be like this” damn. And Eurydice’s “bring the world back into tune” Love it.

oh dude, the doubt in “Epic II” mirroring Orpheus’s later doubt poetictheater.jpeg

the lead in from “Epic II” to “Chant” always Great. And oh man, loved more of the storytelling and Eurydice’s lyrics in “Chant” okay but the juxtaposition of Hermes telling Orpheus telling him to look up while the Chorus chants to keep your head low oh jeez. And Eva sounds Great in “Chant” like DAMN

shaken, not stirred

Andre De Shields, sorry bro.

intellectual: I think his performance was great and the way he portrays Hermes fits really well with the style and aesthetic of Hadestown.

emotional: unfortunately, I don’t like his voice. and yes, I’m definitely biased for NY Hermes, but this is like a personal preference type thing. his voice is like the opposite of a stim for me... :\ which is unfortunate, because I did enjoy his performance

“Road To Hell” is before “Any Way The Wind Blows”

intellectual: it definitely fits this version, and I really liked hearing more about Eurydice and understanding her struggles and why falling in love with Orpheus is such a big thing for her

emotional: but I kinda liked the order in the NY version. it kinda felt like a preface to the story itself, and like even tho Hermes is the narrator, beginning with a song the Fates sing, it shows who’s truly in charge (they DO in fact control the speed at which lobsters die)

tho if I’m being honest, “Livin’ it Up on Top” doesn’t quite have that kick the NY version has. idk if instruments or missing or there isn’t enough ppl singing, but there’s just something missing, which takes a little of the fun out of it

It again feels like something is missing from “Way Down Hadestown” :\

intellectual: I guess I understand why they gave Orpheus’s lyrics to the Fates and Hermes (bc like how would he know what it’s like down there, truly?)

emotional: but I also didn’t like it bc as I’ll talk abt a lot in a min, it really takes away from Reeve’s performance

I’m actually super disappointed that Reeve/Orephus wasn’t featured as much as in the NY recording. his voice is almost completely drowned out almost entirely through “Wait For Me.”

intellectual: I quite enjoyed that the rest of the cast acted as the stones echoing back his song, and that it fit with and strengthened the overall themes and plot of the musical. I’m glad that this version has a more cohesive story and stronger themes

emotional: but it was no longer about Orpheus and his journey, and I think they could’ve kept the themes while also featuring Reeve’s voice. esp in such an Iconic song for Orpheus like “Wait For Me”

“If It’s True” I was tempted to put this in the negatives section bc I feel like it really takes away from Orpheus’s story (get ready to here a lot of repetition sorry not sorry fam). but there are some things I liked abt it.

intellectual: I liked that in the OBC version, that it was more abt the theme they’d introduced abt the workers’/chorus’s struggle and Hades’s struggle to keep them nameless, so to speak. I also did like that they show Orpheus’s worldview change. and fucking finally gave Reeve a chance to shine (kinda, with interjections from Hermes and the Chorus)

emotional: but I do think they went abt it the wrong way, bc I liked that it addressed just Orpheus and his feelings of what’s gone on (specifically Eurydice belonging to Hades) in the NY version, and I didn’t like that in the OBC version that it Was more abt the themes. I also felt like it got a little preachy. Like that’s not what I thought the original “If It’s True” was abt yo. I get it fits with the overall theme and message they want to get across, but I don’t think their execution was that Great :\ I also really liked that in the NY version, him just being sad is what moved both Persephone and the Chorus

“Wait For Me (Reprise)” is the same as with “Wait For Me”

intellectual: I’m not saying  that the new, stronger themes are bad or anything--like I’ve said, I Loved that they strengthened the themes and made the musical more cohesive overall.

emotional:

(+): Okay but also I really Love Eurydice singing what Orpheus sang in “Wait For me”

(-): Reeve’s voice is often drowned out and it’s no longer about his and Eurydice’s story as much (it’s in the very first song! “brother, thus, begins the tale of ORPHEUS AND EURYDICE”). I really do think they could have gone about it in a way that highlights Reeve as Orpheus AND keeps with the theme and the message they wanted to get across by including the Chorus. I mean look! Look! Reeve stands off to the side or isn’t singing for like ALMOST THE WHOLE SONG DUDE. he gets 36 measly seconds singing in this song, I timed it. it’s a 3 mins and 12 second song. and most of those seconds are spent singing the song with the chorus (I do not, however, really count the times Hermes is speaking bc those lines are Great and when Eurydice is singing at the end, but Still!). like I said, I’m so glad they have Eurydice singing his song back to him, but I Really Do Think they could have composed it so it was still Orpheus’s song (with Hermes, and Eurydice at the end, keep that of course!), but held those stronger themes.

“Doubt Comes In” ...like at this point, are you even surprised?

intellectual: strong themes. great. okay.

emotional:

(+):  I Loved Eurydice’s part in this, encouraging Orpheus even tho he can’t hear her. I also did love that they added in Orpheus’s thoughts--pique drama, I LOVED it

(-): third verse, same as the first (and second): Reeve just wasn’t featured as much as I would have liked him to be! the Fates get the lines Orpheus used to sing! when Orpheus sang, “where are you? where are you now?” the first time more steady and sing-song-y, the second time more desperate (but still beautiful holy shit Damon Daunno was Amazing) as he starts to go out of his mind,,, i felt that and i’m incredibly disappointed (and angry lbr) that they took those lines away from Orpheus.

not really a point, but this needs its own bullet point: it just does Reeve a huge disservice, bc he’s a Great Orpheus. I Loved his Orpheus, but the fact that he’s taken out of so much of the story he’s the protagonist in detracts severely from his performance, and it’s a damn shame

I did really liked that they made the “la la la” more complicated in “Epic III” and when Persephone and Hades danced, and how it was softer, but I also liked how powerful the “la la la” crescendo as Hermes, Persephone (I believe) and the Chorus joined in along with the instruments was in the NY version so,,, ¯\_( : \ )_/¯

I don’t think they changed any of the lyrics for “Road To Hell (Reprise)” (they added stuff, sure) but it sounded and felt different, and I’m upset that it wasn’t the same as the NY. it’s in this section tho, bc it was still good (think I like the NY version just slightly better, but I do like the OBC version too, but for different reasons)

neutral(ish)

the change of characters who says/sings lines isn’t my fave, but it’s not bad either and, based on the theme and more cohesive storyline, it makes sense

I’m trying to decide if Patrick Page’s descent from a higher vocal range into a lower one is a stylistic choice, but I don’t feel one particular way about it or another (except for the fact that it didn’t sound like him I questioned if it was at first)...tho the bass drops for “Hey Little Songbird” so maybe it was a stylistic choice and if so, Brilliant! (but it will stay in this spot since I can’t tell if that was intentional)

I’m a little surprised they didn’t give Eurydice her spot light in “Why We Build the Wall” but it’s not like it changes the story much. I think I just liked that she stood out, and with those lyrics, bc it’s dramatic irony--we know her mistake but she doesn’t yet realize that it is a mistake she’s made

“Word to the Wise” it was good. not great. I liked NY version better, but I think I mildly like NY Fates better bc they sang in a very harsh and solid way. like in some parts the OBC Fates do too, but not in the songs where it matters (to me)

the changes made to the Epics. I liked the more story-telling aspect of them, but I also didn’t quite love the changes. but the songs themselves were still p great, so (it’s here, rather in the mixed section) bc I don’t particularly feel as strong one way or another abt the NY Epics compared to the OBC Epics

Once again, I feel like smth is missing from “Word to the Wise” :\ like some kind of instrument to really push it into extraordinary, to hold it up. But the Fates were a little better at being brutal so ¯\_(ツ)_/¯ i guess

hard no, babe

that being said, regarding first point in the neutral section, I didn’t like that they took away (even) more of Orpheus’s lines because it then removes (even) more of his voice, when he’s HALF THE FEATURE OF THE STORY. I know it’s really about two love stories (and like I said before, it does strengthen the themes and overall storyline), but the main focus was Orpheus and Eurydice !!!

the sound of the train whistle. mmm, I’ll pass. it’s so dinky. bring back the NY train!

The way Reeve says/sings some of his lines (not all of ‘em tho) could use some work? doesn’t sound great. didn’t love it. idk if it was a stylistic choice on the director’s part or Reeve’s own choices in how he wanted to play Orpheus, but I didn’t agree with them. I think he uses his falsetto a little too much for some lines. And let me tell you, was very afraid they were going to do that three-voice thing (like in the concept album) when Orpheus meets Eurydice. glad they didn’t, but I also didn’t really think they needed it at all

I’m actually uber disappointed they took out the old radio sound for Hermes in “Wait For Me.” I just really liked it man.

ngl, I. was. Heartbroken. when they’d changed the lyrics to Epic III (which is why it’s in this section :\). Esp like I CANNOT BELIEVE THEY CHANGED “where is the man, WITH HIS HAT IN HIS HANDS, who stands in the garden, with nothing to lose” (emphasis mine). like, again, i understand the changes were made to keep with the themes introduced, BUT can you Imagine. holding the whole world in your arms (when Hades gets the girl) compared to holding something so small and insignificant (BEFORE Hades gets the girl). COME ON! it’s like the perfect juxtaposition AND I thought it made Hades much more human AND it still keeps with the themes. (tho I am glad they kept that part at all bc when I realized how much of “Epic III” they changed, I was worried they’d taken that part out too. it’s in this section tho bc the changes are unforgivable overall)

Come Home With Me I and II (Reprise) !!! I’m extremely sad they changed the lyrics so much. Admittedly, I do like the first “Come Home With Me” introducing his song that will bring spring back. But the changes are too unforgivable for me to put it in the mixed section. I really liked Orpheus’s proposal in “Come Home With Me II” in the NY version and that repetition of “say I do, I came all the way just to ask you to” and then the Fates step in and are like, “Mmm, sorry boo, she belongs to Hades now” and the song ending with Eurydice saying “I do” but with a totally different meaning. like okay, the OBC version fits more with the theme, and I’m glad they still kinda included it in “Papers” (I do actually like the way it’s composed in “Papers” if I’m being honest, the “I did. I do.” just,,, hits me) but it’s too unforgivable to put in the mixed section. OH GOD and. esp,,, okay Listen. HOW could they take out “are you always this confident?” // “when I look at you I am” and then later hearing Hades sing, “Orpheus the undersigned SHALL NOT LOOK BEHIND // SHE’S OUT OF SIGHT and he’s out of his mind” LIKE COME ON MAN that was Perfect AND YOU TOOK IT OUT ???

the Fates in their “Way Down Hadestown (Reprise)” I Loved the NY bc they Tore into Eurydice (I love my girl, but that song is a Bop and they are Ruthless). the way they sang, it was harsh and cutting. in the OBCR...not so much. It’s too sing-songy and embellished (is the best way I can explain it), and I was disappointed bc it was one of my fave songs in the NY version. not to mention, I Did Not Like Eurydice’s lyric changes. and I know that it strengthens the themes, and I did actually like that they showed Eurydice losing herself as she worked (esp bc it adds more to “Flowers” and again strengthens the thread linking the songs), but I disliked it as a whole enough that it can’t be saved to be moved into the mixed section

OH NO I. CANNOT. BELIEVE. THEY CHANGED “YOU’RE EARLY” // “I MISSED YOU” TO “IT’S YOU” // “IT’S ME” // “ORPHEUS” // “EURYDICE” FUCK YOUR THEMES but for real, I think keeping “you’re early” // “I missed you” would’ve have kept with the theme way more than what they changed it to bc 1) they’re referencing smth the two litchrally just said to each other. and 2) THAT’S WHAT PERSEPHONE AND HADES SAID TO EACH OTHER WHEN HE CAME TO GET HER FROM HADESTOWN AT THE BEGINNING OF THE SHOW. it’s a theme that’s introduced in the beginning of the musical--“it’s a tale from long ago”--bc Persephone and Hades’s relationship was SUPPOSED to mirror Orpheus and Eurydice right? there’s the fact that Orpheus’s song is what Hades heard long ago like ??? a HUGE Point of Orpheus and Eurydice’s love story was to remind Persephone and Hades about the love they shared when they first met (“wait for me?” // “I will”). and gosh darn it, it still would’ve fit the themes if they had stuck with “you’re early” // “I missed you” bc of that!

SPEAKING OF I CAN’T BELIEVE THEY TOOK OUT PERSEPHONE’S LYRICS IN “CHANT (REPRISE)” LIKE WHAT like it worked so well !!! (esp bc I’ve read reviews of the show, with Hades and Persephone circling Orpheus and Eurydice as they’re dueling and switching the direction they walk when the chorus makes that “kch” noise like poetictheater.jpeg) it was such a good juxtaposition between what Hades thinks Persephone wants and what Persephone actually wants (I do like that “Chant (Reprise)” is more complicated composition-wise, but not enough to move it into the mixed section). ALSO “He said we’d build ‘em up // And then the walls would set us free” // “Is it true, what he said?” // “He said we’d soldier on // And then the war would bring us peace.” I thought that got across the message quite well in the NY version, esp since they were echoing Orpheus’s “if it’s true.” they’re also just Great lines and I Cannot Believe they took them out 

YAS QUEEN

I’m a HOE for singing in the round, and the beauty of Orpheus’s “la la la la” joined in by the chorus in “Wait For Me” got me like. OKAY AND THE LYRIC ADDITIONS I LITERALLY CANNOT IT’S SO BEAUTIFUL AND POETIC AND GOOD WHEN ORPHEUS SANG “I HEAR THE ROCKS AND STONE, ECHOING MY SONG, I’M COMING”

I mean,,, how can you Not like “Our Lady of the Underground.” I also really enjoyed the more jazzy feel. Like it was already jazzy, but it’s even more jazzy in this version, to me

if you couldn’t tell, I loved Reeve and his Orpheus

“Papers” is Great and idk why but I Love “everything and everyone in Hadestown, I own.”

oh shit dude, Orpheus’s song being something from long ago that he like picked up on bc Greek mythology be like that and then HADES RECOGNIZING THE SONG. THAT. WAS. BRILLIANT.

“Flowers” felt like it fit much better in this version, with the themes being stronger and all that. also could actually hear it clearly, so that could be why bc I’m pretty sure they didn’t change a single lyric lol. still Loved it

the lyric additions to “Wait For Me” I’M SCREAM SO GOOD (even tho I’ve mentioned this before lmao)

“How Long” was. so. good. I just really enjoyed the exchange between Persephone and Hades in this song

DUDE I JUST REALIZED “NOW I SING A DIFFERENT SONG” FROM THE ONE ORPHEUS REMINDS HADES OF BRILLIANT

“Oh, it’s about me?” that made me laugh out loud. Oh god Also the repetition of lyrics in “All I’ve Ever Known” in ��Epic III” to show that Orpheus and Eurydice’s love mirrors Persephone and Hades’s? poetictheater.jpeg

“Promises” omg. I actually liked this one better than NY “Promises” sorry not sorry. don’t get me wrong, Eurydice has every right to tell Orpheus off since he made all those promises he couldn’t keep in the NY “Promises” but in OBC “Promises” it feels more mutual. it feels softer. rather than Eurydice going, “you done messed up A-A-Ron” it’s more like Orpheus going, “I done fucked up and I’m sorry.” Orpheus is more self-aware and I liked that.

dudes, I’m extremely happy they added Eurydice back in for “We Raise Our Cups” it really rounds everything out. And it’s just a really good epilogue song. (I’m curious to see if Reeve is out on stage for this or if he stays backstage)

Final thoughts: the stronger themes were Great. don’t get me wrong. okay. I liked that about this version. but I feel like by trying to be too In With The Times(TM) they lost some of the heart of the story, which ultimately detracted from Reeve’s performance as Orpheus.

sometimes I really think a story can be just a story about two people (or two love stories), and the themes and messages will find their way in naturally. it doesn’t need to be this big thing about everyone all of a sudden. at the very least, bc it’s obvious the themes and messages are stronger in the OBC version, it does take some work and planning, but I felt like they were trying just a tad too hard and ended up being too heavy-handed.

I thought the themes and message they were originally trying to get across got across just find in the NY composition (specifically for “Wait For Me (Reprise)” bc the themes are definitely stronger throughout the overall musical in the OBCR composition)

now, I’m not saying don’t include messages in your art, that’s what art is for! But I think they could have either kept it about how it was in the NY version, because there were still messages (just a little more lucid and not as strong) OR they could have composed it some way that kept the stronger themes and messages AND kept the importance and presence of Orpheus’s role, and Orpheus and Eurydice’s story.

for me, Orpheus, esp OBC and Reeve’s Orpheus, doesn’t strike me as the guy to start a revolution and lead the Chorus thru hell. Like when the Fates say, “who are you to think that you can hold your head up higher than your fellow man?” I honestly get confused bc,,, he... doesn’t think that though? He just loves Eurydice and wants to save her from Hadestown. and maybe that’s actually the point? that Orpheus wasn’t ready for the pressure suddenly put on him to not just lead Eurydice out but also all of Hades’s workers, so doubt came in. but then what was with “If It’s True?” which, as I said, did start to sound pretty preachy? not to mention, the one time their themes and messages aren’t clear

anyway, long story long, the way I see Orpheus is his voice just does That. it doesn’t have to have some secret, overarching message for his songs to influence and move people. in the original “If It’s True” he sang about his loss and it was emotional enough to move Hades’s workers. to me Orpheus’s gift, his music, his voice is about emotion. and I think of Coco in that respect: “de la Cruz was a nobody, but when he sang, people listened” paired with, “I didn’t write it for the world, I wrote it for Coco” yet “Remember Me” (and all his songs) still resonated and moved people

so anyway, here’s my Hadestown hot take: Reeve wasn’t nominated for a Tony because the new composition underutilized him as Orpheus

no i don’t take criticism