#we had the understudy hades

[knocking-on-peoples-non-doors]

may 18th, 2024

[irisbleufic]

We had tickets to see Hadestown both last night and this afternoon in Albuquerque because the seats were so fucking affordable, like…we got 2 performances, 2 seats each, for what it would cost in any other city to see it just once. Absolutely bonkers.

Last night’s show? Electrifying in a way that the cast combination we saw in Fort Worth (the first time we saw it) just wasn’t. Amaya Braganza (Eurydice), Daniel Tracht (Orpheus), Lana Gordon (Persephone), Matthew Patrick Quinn (Hades), and Will Mann (Hermes) nailed it. 20/10, no notes. IMO, they were better than the original cast recording in every respect, and better than the Fort Worth cast in most respects (Hades was the same in Fort Worth, but every other principal performer has changed since). I’ll never forget it.

Today’s show, same cast? The fire alarm was pulled less than 10 minutes into the show. The net result was the show effectively starting an hour late, and something happened during intermission where one of the Eurydice understudies had to come on unexpectedly for the remainder of the show. The understudy was still excellent, but man, the fire drill really played havoc with the energy.

Last night’s show might be one of the best live performances of anything I’ve ever seen, though. It’s harder to make me cry with music than it used to be, but last night got to me. Hades and Persephone were both crying silently, but so openly during Epic III that you could see their tears hitting the stage.

(It also made me feel really, really fucking justified in what I wrote in that fusion fic earlier this year, because Jesus Christ. The vibe I was aiming for wasn’t 100% in the Fort Worth performance, but it sure as hell was in last night’s and today’s.)

[lonelychicago]

broadway buddie! (because i also have a broadway buddie wip lmao)

Eddie Diaz, right in front of him. Nodding to something Bobby is explaining to him like it's the most important thing in the world, hanging onto every word like his life depends on it. Eddie Diaz, a person Buck hasn't seen in years. Eddie Diaz, the man Buck spent most of his college years in love with. "H-hey?" He says after what feels like an eternity, his mouth suddenly feeling dry, as if he had just swallowed sand. "What's going on?" "Buck, this is—" "Eddie." He cloaks out. "I know." God, Buck can't stop staring. His heart is going mad inside his chest beating so hard and painfully against his ribs and he thinks he might die right there on the spot. (He's totally being melodramatic, sue him he's a Broadway actor after all.) "We went to college together." Eddie explains after a few minutes pass by with Hen, Bobby qnd Chimney looking curiously between them and Buck offering them no other words. "I heard you're Hades, right? That's a great part for you. Can't wait to see it." "Thanks," Buck says. His expression only falters for a second; his tongue darts out to wet his lips, and then he’s smiling, polite. "Uh— I'm sorry, but what are you doing here?" "He's Orpheus understudy and also our new stage hand." Bobby claps him in the shoulder. "Ravi has been offered a part in a movie and he's debating if he should take it or not and we can't risk not having an understudy." "Enter Eddie." Chimney smiles and obnoxiously chews his gum. Any other day Buck wouldn't even think about it twice but now he feels exposed, backed into a corner. He feels too on edge and too— raw, fragile.

[gendernutralghost]

oh my fucking god it was even better in person!!!

Hermes was amazing so was Donal finn as Orpheus we had understudys for Eurydice and Hades but they were just as good.

this will haunt me forever I'm so glad I got to see it

[misscoolisback123]

A fun Headcanon of Erehisu and Rivamika:

"Hadestown" Rehearsal:

Levi: Damn it!

Mikasa: What's wrong?

Levi: The lyrics for one of the songs says that I'm playing a mean old boss!

Historia: With a silver whistle and a golden scale.

Eren and everyone else, including Mikasa: An eye for an eye!

Levi: Yeah, yeah, I get it!

Hanji: Cheer up, Levi! At least you're playing one of the main characters!

Mikasa: Yeah, honey. Plus, you won't be kissing anyone. In fact, you won't be kissing anyone at all, really.

Pieck: Well, that sucks

Historia: Yeah! They're so cute together!

Levi and Mikasa both blush.

Me: Alright, everyone! Listen up!

Everyone gathers around me for instructions

Me: Okay, so I got the cast list for your understudies posted, everyone go check them out!

Everyone looks at the bulletin board to see who their understudy is

The Fates: Mina Carolina, Ino Yamanka, and Temari

Persephone: Frieda Reiss and Nanao

Hades: Madara Uchiha and Erwin Smith

Hermes: Deidara

Orpheus: Ichigo Kurosaki and Ulquiorra Cifer

Eurydice: Rukia Kuchiki and Orihime Inoue

The band: Naruto Uzumaki, Kiba, Shikamaru and others

Passengers and shades: Kenpachi, Yachiru, and others

Eren: Ha! As if this Kurosaki guy can do better than me!

Ichigo: The fuck did you say!?

Rukia: (sighing) Ichigo calm down.

Historia: You too, Eren! Plus, you have a second understudy, just like how Mikasa, Levi, and I each have two as well.

Frieda: That's right dear sister!

Orihime: I can't believe I get to be a part of one of Broadway's biggest hits!

Historia: Hello Ichigo, Rukia, and Orihime! I'm so glad you get to be in the show!

Eren: Where's Ulquiorra?

Ulquiorra comes in walking with baby Nel Tu

Ulquiorra: Sorry I'm late. I had to pick up Nel from preschool.

Byakuya Kuchiki: Same here.

Me: Hi honey!

Byakuya Kuchiki: Hello there my love!

Everyone is chatting with each other

Byakuya and I kiss

Frieda: (whispering) Hey Mikasa and Nanao! I hear that Byakuya might propose later to the director.

Nanao: Actually, it already happened

Mikasa: She said yes to him!

Frieda: When did this happen?

Yachiru: This is gonna fun, Ymir Fritz! But I'm kinda bummed that Kenny didn't get the part of Hades.

Levi: Hey kid, did you just say Kenny?

Kenpachi: Sure, she did why?

Levi: Oh, nothing! I thought that she was talking about my uncle

I hand out the scripts to each understudy

Historia glances at Eren several times

Rukia: Hey, Historia. You keep at that Eren guy

Orihime: Yeah! Do you like him or something?

Historia: What me? Him?

Historia is trying not to admit her feelings for Eren

Ichigo: That Historia girl keeps looking at you

Eren: Really? Her?

Eren is flustered as well

Ulquiorra: Just admit that you have feelings for her

Eren: What should I say to her?

Deidara: Tell her that your love for her is like a truck. Berserker!

Levi shakes his head

Levi: Don't say that, Eren

Ulquiorra: Just be yourself

Eren starts walking towards Historia

Historia: What should I say to him?!

Rukia: Just take a deep breath and relax

Orihime: Tell him you dream of him every night!

Rukia and Mikasa shake their heads

Frieda: No! That sounds creepy!

Mikasa: Just be yourself. I did that with Levi

Historia nods

Eren and Historia both bump into each other

Eren: Hey, Historia

Historia: Hey Eren

Eren and Historia: I've liked you for a really long time and I was

Historia: You have?

Eren: Yeah! Since senior year of high school

Historia: How come I never noticed you before?

Eren: Because you were dating Reiner

Historia: Oh, that's right! To be honest, I never felt anything for him. Everyone kept saying that we were high school sweethearts and that we would get married, but I didn't feel that at all

Eren: I could tell that you were faking it the whole time. Hell, you even went by a different name! It was Krista

Historia: Guilty as charged! Being Krista was exhausting.

Eren: I was so glad when you dropped that persona.

Historia: When I met you in college, I knew that you were a guy that I could trust. I remember when I first told you my real name and a massive weight was lifted off my shoulders.

Eren: I remember that, too.

Orihime: (whispering) This is so cute!

Me: I know, right? This reminds me of how Ichigo and Rukia got together!

Rukia and Mikasa: Ah shit!

Orihime: Where did you come from?!

Me: I've been here the whole damn time!

Eren: So do you...

Historia: Yes!

Eren: Really? That's great! I'll meet you after rehearsals

Historia gives Eren a kiss on the cheek, and he stands there blushing

Nel Tu: Papa. I'm sleepy.

Ulquiorra: I know, sweetie, but there's nowhere for you to rest

Orihime: He's such a wonderful father.

Historia: I saw you looking at him a few times yourself

Orihime: No I wasn't!

Me: Alright, everyone tomorrow, everyone needs to be at the top of their games!

Everyone responded to me, and they all begin to leave

Orihime looks at Levi and Mikasa, Ichigo and Rukia, and now Eren and Historia holding hands looking at each other with love

Orihime doesn't want to admit it, but she does have feelings for Ulquiorra. She loves seeing him being gentle with his daughter Nel

Orihime: Maybe I should tell him how I feel about him!

I added some Ichiruki and Ulquihime in there as well! I hope you enjoyed it, and I might have a continuation of this Headcanon. I might actually have Kenpachi as Hades if I continue this Headcanon!

[jaxs-beanie]

Hadestown Tour Notes 2!

I saw Hadestown on tour again today (technically yesterday lol, February 17 2023) and it was just as amazing, if not more so, than the first time! We had no understudies, so Orpheus was Chibueze Ihuoma, Eurydice was Hannah Whitley, Hades was Matthew Patrick Quinn, Persephone was Brit West, Hermes was Nathan Lee Graham, the Fates were Dominique Kempf, Belen Moyano, and Nyla Watson, and the Workers were Courtney Lauster, Jamal Lee Harris, Eddie Noel Rodriguez, Jordan Bollwerk, and Lindsey Hailes.

ACT 1

 No understudies and had front-row seats on orchestra left, could see the whole right of the stage! Hades’ leather coat hung on a coat rack on the far right wall. Jamal’s chorus member has a green beanie! Courtney looked kinda sarcastic at Orpheus at first, Jordan’s chorus member was very excited, Orpheus was bopping to RTH, Hades clapped by slamming his hand on the balcony railing. Eurydice and the Fates shared A Look, and she seemed to recognize Jamal’s worker when she came in the door.

The Fates scared Orpheus away at first in Any Way the Wind Blows, then he got stronger and tried to approach Eurydice again, and was right to the right of her when she asked for a match but was too late to give it cause she saw Hermes first. Clotho enjoyed teasing Eurydice a lot while Lachesis made a bit of a motherly gesture on her final verse. Hermes was soft and sweet about hearing Orpheus sing.

Hermes couldn’t help but laugh when Eurydice called Orpheus crazy, Courtney seemed to agree at first but by the end of Wedding Song she was totally shipping Orphydice. Lindsey has the red dishrag, and Jamal and Eddie were the table workers for the birds verse. Chibueze’s Wedding Song was smooth and bluesy kinda like Justinpheus. I got the feeling Jamal’s worker was really into it too, he felt like Eurydice’s friend.

Eddie briefly looked curious about Hermes in Epic 1, then got bored. Hermes drew out ‘Hades…’ like ‘Orpheus, you should know this already.’ Orpheus really enunciates every word on the Epics compared to Wedding Song, which was more breezy, and started a lil shy, then got strong. Eddie, Jordan, and Lindsey looked awed at Orpheus’s singing and very interested, plus Eurydice. During the final Epic 1 verse—down below and up above—Hermes had a small dance and look with each of the Fates in order. Eddie was back to his table spot on ‘that was long ago’ and looked sad.

In Living it Up, Jamal was the first to take off his jacket and was eager for spring, Courney was shipping Orphydice and encouraged Eury to dance, Eddie caught the flowers and spun. Tour workers have a new line; after ‘Anybody want a drink’ they all go YEAH! Lindsey danced first, then Jordan and Courtney danced, then Eddie and Jamal. Lindsey was a dance machine! Eddie and Jamal’s workers felt like a couple, especially down below. Jordan yelled ‘YEAH, ORPHEUS!’ followed by Lindsey. Orph was teary during the toast, especially with Persephone ‘asking nothing in return’, also felt a lil drunk. Then Hermes gargled on his toast and we all laughed, Eddie held and spun Seph to end the song.

Hermes looked kinda protectively at Persephone during All I’ve Ever Known and guarded Eurydice’s candle, while Jordan took Orpheus’s guitar. Eurydice was cautious at first and Orpheus matched that energy, and his legs wobbled when she pushed him backwards. When they stargazed at the end they raised their hands to the sky and held each other’s hands.

Persephone’s ‘OH, COME ON’ was hilarious, Jordan put guitar back, Eurydice was curiously watching Seph before she started dancing, and when Hermes mentioned hound dogs she moved to protect Orpheus, who looked terrified and scrambled into her arms. Hermes was repeatedly scaring Orphydice apart before they danced, then laughed and cuddled before Hades showed up. Courtney and Jordan got Persephone’s coat, the audience laughed at ‘You’re early’, Orpheus hugged Eurydice on the last note.

Courtney gave Eurydice her jacket and Eury gave Orph a shoulder brush goodbye, and the Fates blocked him from hearing her—the wind drowned her out.  Orpheus held ‘king of oil and cooooal’ a very long time, and the Workers did some really cool spins as Epic 2 ended. Hades was super duper proud of himself and Persephone was upset, while the workers were scared and kept protecting their faces from the balcony, where they’d be seen. Orpheus felt like he was swimming through a sea of fog in Chant, and when Eurydice saw Atropos she ran for her life. Hermes was calling for Orpheus like he couldn’t see him. Eurydice put her hands in her pockets to try and save the coat but failed. Persephone felt sad for the workers and Eurydice on her last verse.

Hades saw the light, shielded his eyes with a hand, then put on sunglasses. He felt confident and secure that Eurydice would follow him, and was dripping with scorn on the ‘hand to mouth’ verse. The Fates looked like they were measuring Eurydice’s thread on the intro to Chips, and Hermes looked stoic, almost like a statue. Eurydice was scared and felt desperate to avoid her fate but gave in.

Orpheus heard Hermes playing with the coins and got curious. Hermes didn't blow out the candle during Gone I'm Gone...he blew it out around the 'you'll find another muse somewhere' line and was holding it when Orpheus came by. Orpheus’s ‘no’ was broken and kinda sounded like a ‘nope.’ Hermes was a drama king as he gave directions, Workers right behind Orpheus with the lamps. Orph ran straight into one center stage but I think it was planned. When the Fates caught him the Workers were working, and at the end the lamps raised into the ceiling. The Workers were still and quiet for Why We Build the Wall, Jordan prepped Hades’ microphone. Hermes looked upset at Hades, while Jamal looked really into the song. Hades loosened his jacket early, where Eury could see, but undid his tie when only Seph was looking. The band hung around onstage a bit after the act break.

ACT 2

For Our Lady of the Underground Hermes looked worried about Seph and her drinking, he made a tsk motion as he watched her drink like he was warning her to be careful. Persephone looked right at me before the sky verse, and we have a new ship, Hermes and trombone man (first name Tim). He had a cowboy hat on and Hermes was swaying and laughing to the music with him, holding the flowers before handing them to Seph. Hermes looked scandalized on the final OLOTU moments ‘tell my husband to take his time’ and backed away a bit.

Way Down 2 felt like Persephone was seeing the workers’ and Eurydice’s conditions for the first time on the ‘floor’ as it were and she didn’t like it. Eddie was the Fates’ model worker and he didn’t even blink when they presented him. He and Courtney felt like the workers’ leaders, the others physically leaned on him for support later in the song. Clotho felt like she was enjoying it the most.

In Flowers Persephone was facing Eurydice for the whole song, but her eyes were closed as she and the workers slept. The air was smoky and hazy from fog, it felt like you were drifting just like Eurydice was. She was broken and scared for herself and her life, and by the end she really felt like she was dead and had resigned herself to it. Orphydice did a HUGE hug and spin and the biggest laugh was Orph’s blunt ‘No!’ when she asked if he heard. Hades shows up and is lit in blue on ‘No you can’t’ before revealing himself.

Persephone was reaching out to Orpheus like she wanted to hug him in Papers and even when Hades shut her down it took a while for her to stop reaching. Clotho took the guitar and Orpheus sounded so broken when he asked Eurydice if what Hades said was true. Eddie and Jamal led the charge in beating Orpheus up, Hermes, Hades, and Persephone all watched, Eurydice ran to the side I think, Eddie pinned Orph down. Hermes and Persephone watched Nothing Changes while the workers all gathered in a clump.

Afterwards Eurydice was scared to approach and Orpheus was scared to let her. Eurydice reached out a few more times and gave up while Persephone looked distressed and Hermes watched him with pride as he found his footing again. It felt like a lot of this If It’s True was directed at Persephone, and Orpheus was crying for a lot of it. Courtney rose first, then Eddie, Jamal, Jordan, and Lindsey, Eurydice ran for the door and barely made it. She took Orpheus’s hand as they went through the door together.

Hades felt frustrated and defensive in How Long while at the same time trying to understand and comfort Persephone. When they reached an impasse he felt very bitter and defensive, shouting ‘the song people sing’ sarcastic and upset. He watched the piano guy play for a bit.

Hermes was super happy about the rebellion going on while Hades lounged on the stairs like a predatory animal. Courtney and Jordan hugged, then Jamal and Lindsey clasped hands, then Eddie and Courtney held one another’s shoulders. Hades did the finger guns again while Orph’s ‘raise my voice’ was angry and proud, determined to make a change. Jamal and Lindsey high fived while Eurydice and Courtney did a secret handshake. Hades’ ultimatum was playful at first but the Great Beyond was snarled, there was stunned silence for a bit from how epic it was. Eurydice gave Orph a soft, scared hug before Epic 3.

Hermes prayed for Orpheus just like Andre did, he seems a bit more fatherly to Chibueze. Hermes looked right at me when Hades said ‘Awww, it’s about me?’ Orpheus got really strong on ‘I know how it was because he was like me’ and Hades got distressed at the first lalas. Orpheus looked at Eurydice, who stepped forward when he began to cite AIEK, and when Hades yelling at the workers didn’t work he started yelling at the band to quit it. Persephone was shocked as Courtney, Jamal, Lindsey, Eddie, and Jordan all took off their caps while Eurydice looked so proud of them—I feel like she made friends. Orpheus looked so sad singing about Hades, did the Damon riff on ‘see how he laaaabors beneath that load’ and was crying for the back half of Epic 3.

There was a huge gasp when Hades made the flower. Lindsey and Jordan and Jamal and Eddie stood in pairs while Courtney stood alone. The workers all hugged and Hermes took the mic, Eddie and Jamal felt super close and I feel like their workers were a couple or maybe related. Big laugh on ‘but how?’ and lots of sniffles as Hadeseph embraced through Promises. Orpheus suddenly backed away scared at first like he felt like he didn’t deserve Eurydice and pleaded his case. When he was done Courtney was ready to go and she and Eurydice shook hands, then Eury held arms with the other Workers.

Someone laughed really hard on ‘I dunno’ and the Workers were SO upset :( Clotho indicated Orpheus on ‘men are frail’ and it really looked like Hades was going to smite him as he slowly walked over and suddenly pounced, with Orpheus holding his guitar in front of him for protection. Orph looked totally convinced that he was gonna die and was surprised he wasn’t dead. HTKR was very unhinged especially on ‘freedom… FREEDOM’ and the ‘idle hands’ verse. He looked at Persephone who was protecting Orphydice and then beckoned Hermes over, who seemed to be trying to steady him so as not to do anything rash. He scared Orphydice again at the end of the song for no good reason, and then chilled by the band while Hermes relayed the news.

Courtney was ready to book it when Hermes said they could go, Hades was still looking at the band and the way he was standing showed off his butt for about a whole minute. Then he watched the workers when they were singing about leaving, and both couples were pulled apart at the same time by the turntable, it was really affecting how neither wanted to let go but were forced apart inch by inch. Clotho got in Orpheus’s face and he was super scared. Then Hermes got her back by indicating the Fates on ‘the dog to dread’ lines. Orpheus approached Hades for the handshake and Hades felt insecure about it. Eddie led the Workers on the ‘walk’ out.

Doubt Comes In gave me the timeless feel from Edmonton as they walked through the mist. As soon as the violin came in, Eurydice shrunk and fell back, out of sight, and Orpheus was alone for the moment. Atropos put herself and sisters between Orph and Eury, they couldn’t hear one another, and the Fates raised their lanterns only on their own lines. Courtney led the workers’ chain as Orphydice walked out, Orpheus sounded very scared of Hades on his second verse, then got angry. The fates scurry like mice to prepare for the turn, which got a ton of big gasps. Orph’s ‘Eurydice’ was so desperate and he reached for her to no avail.

Hermes began RTH 2 with his hands on his head, then cooled from distressed to sad as the fates and chorus watched. He was really sad on ‘from way back… when.’ Courtney, Eddie, and Jamal feel like their characters remember the reset as they were happy to see Eurydice back and ready to try again. Persephone brings spring flowers and Eurydice takes out the red carnation at the exact same time. Jamal and Eddie were a pair again. We gave another standing ovation, and in Cups I noticed Hades has steel-toed shoes. Jamal passed out drinks to the Fates and Hades, and Persephone and Eurydice were next to each other singing. Clotho looked right at me at the end of Cups, and Hades waved goodbye to us :) And we all went ‘WOOOOO!’ at the end of the instrumental after!

[dentpx]

7/7/2023: Hadestown again

Still genuinely my favorite show, I feel really lucky to have seen it on Broadway twice now. I was itching to see it again after the tour, which was still really good but had to reblock things which I missed dearly seat stuff: - row F floor seats on the left side of the theater, and on the left side of the row. pretty good seats, but I'm glad this wasn't my first watch of the show. - for the most part I could see all the major action. the only time i couldn't see was during Chant III (I think) where I couldn't see Hades at all for his dialogue at the bottom of the stairs or heading up them because Hermes was standing stage right. - only actual complaint about the seats is that there were a lot of times where I wanted to see the facial expression of an actor during a scene and they were facing the other direction LOL, which is just always the gamble on non-center seat. - it was pretty nice being close to the front, not gonna lie. Pretty sure I made eye contact with Hermes at the start of the show when she was doing some crowd work, also think I made eye contact with one of the fates during We Raise Our Cups - also. HUGELY GOOD SEATS for if you're doing stagedoor because they exit you on that side of the theater, which is also directly next to stagedoor. we were able to get out very fast.

cast stuff: - Reeve and Eva are still there <3 was able to catch a lot of cute moments this time. they're always so cute on stage. favorite was during Livin' it Up, they were sitting on the tables, he was holding her and they were whispering things to each other. it was so cute that after the show I googled if they were dating and they were LOL - Eva is so great, caught more little moments from her too, like when Persephone hands her the flask. She sniffs it and then her whole face is like "oh my god? how is she drinking this." When they throw her into the dance break in Livin' It Up, she's like "nooo I don't want to, I don't know what to do". - Reeve great as always. so obsessed with him. i think he's the only character in the show who doesn't acknowledge the audience at all, even when he looks out, he doesn't connect in the way that other leads do (which is for sure a character choice). - fave thing I noticed from him was during Wait For Me when he's dodging the lamps, just some great facial expressions and body language in that number. really communicated that this is representative of a long and hard journey. - first time seeing Lillias White as Hermes (cats fans make some noise), I LOVED her. I like that she's doing a different thing with the character. Her Hermes is "rooting" for Orpheus and Eurydice more - when Hades says he'll let them go, she visibly sighs in relief, and then is upset when he names the condition. I really got the sense of her struggle as the storyteller unable to change the story. Her dynamic with Persephone was great. She also has an incredible voice ofc. - Jewelle again as Persephone, she is just show-stopping. Her physicality when she dances is INCREDIBLE. Way Down was a personal fave from her this time. - Alex Puette was Hades, he's an understudy. i really liked him. he's not a super deep bass the way Hades normally is, so he had a more musical performance and less spoken word. I think he had great body language. He was sort of a silly Hades? there's a moment where he runs up the stairs in victory and he sort of made a little walking motion with his fingers on the arm rail like he was doing a victory lap lol. - he also did a line read in a way i have NEVER HEARD BEFORE: he read "oh, it's about me" in an "oh no, this is embarrassing" way instead of the "this kid is stupid" way most people do it.

set/blocking/misc stuff: - i really do think this show is best on Broadway because of the turntable and the circle trapdoor. the way that they use it is so smart and effective. commented on this last time but Chant (Reprise) is so good because of how they use the turntable to put Orpheus, Hades, and Persephone against each other. the ending is also better with the trapdoor. - being on the floor this time meant I couldn't see where the trapdoor was in terms of height when they used it, which actually helped with immersion haha. when Hades and Persephone leave after Way Down, the workers look at the floor where they disappeared in awe, and even though logically I know the turntable probably came back up already you picture a giant hole in the earth. - broadway set also rules because of the scale it has, so when it splits apart in Wait For Me it feels earth-shatteringly cool. - was glad to see the acoustic guitar again. on tour they give Orpheus an electric guitar because they're going to theaters that are too big to mic an acoustic one for i guess? but the acoustic guitar looks better and fits more with the tone of the show IMO. happy to see it. - i actually think Epic III was my favorite song this time. it is so beautiful when everyone comes together, it just feels magical.

[rimouskis]

Tour Hermes omggggggg. I wonder if we got the same one; the guy I saw playing him had such intense Youth Pastor Energy that I couldn't take him seriously. :(

YEP THAT'S HIM. his voice was all over the place: alternately quiet and then LOUD AND BRASSY AND STYLISTIC. he would also occasionally enunciate words weirdly and idk about you but to meeeee that felt like a... bad quality in a narrator character ahahaha I was like BUDDY CHILL OUT, MY FAMILY HASN'T LISTENED TO THIS SOUNDTRACK BEFORE!! THEY NEED TO UNDERSTAND YOU TO UNDERSTAND THE PLOT!

I saw the understudy on Broadway and I didn't think of his performance as particularly standout in the way, that, say... andre de shields probably was, but I understood every word he said and he didn't distract from the story. The touring Hermes would be so catastrophically energized that it took away from the performance overall!!

Also I'm just a huge fan of intelligibility lol I have bad auditory processing skills and even as someone who has basically memorized the whole musical I had trouble understanding him sometimes. I think that's why the touring hades stood out to me so much: he had a lovely voice but almost more importantly: his singing was SO clear. you could understand every word that came out of his mouth.

[00towns]

2022: Selected Media in Review

Hadestown 

I caught Hadestown on Broadway in early November on last minute tickets purchased with my coworker for nosebleed seats. We had just finished our last day at a three-day museums conference and were desperately looking for something to fill our last evening that didn’t require massive amounts of critical thought or force us to talk to each other. Sitting on a stone bench in Central Park, we scrolled through a litany of day-of tickets and debated The Book of Mormon, Kinky Boots, and Six before settling on a 7PM showing of Hadestown. 

Despite actively trying otherwise, I don’t have a wide repertoire of musical theater knowledge, so when I picked up the playbill and began scanning the names the only one that rang a bell was Eva Noblezada, whose Yellow Rose (2019) I had caught at a film festival a few years ago. My coworker, already a fan of the musical, explained the premise to me. It was a retelling of Orpheus and Eurydice, set in an ambiguously post-industrial Western backdrop with appearances from Hermes, Persephone, the Muses, and Hades – think Makoto Shinkai’s ‘two kids against the world’ motif with a familiar cast of Olympians. She noted in particular Eva as Eurydice’s country, folksy sound contrasting and complementing the high-pitched musical motif of Reeve Carney’s Orpheus. While both roles were played by understudies in the show that we watched (as well as the roles of Hades and Hermes), I particularly loved the sense of intimacy cultivated between Eurydice and Orpheus. The other standout element of Hadestown to me was the lighting design, which at one point swings huge industrial lanterns out into the audience on thick metal cables, creating an almost beating-heart effect through the circular stage design. Entirely unexpected and haunting, I left the show with a newfound appreciation for steampunk, folk, and mythologies that beg the audience to remember a time before we knew all the endings. 

(Virginia and DC friends, Hadestown is playing next year at The National in June.) 

2. Chen – 사라지고 있어 Last Scene - The 3rd Mini Album

In lieu of a Baekhyun solo album this year, I’m deferring to my thi– 

I’m kidding, of course. 

In a listening party video during promotions for this album, Chen reflected on the song Photograph and its high notes, something fans have come to expect from Chen because of his position within EXO. Notably, those notes are missing from this album with the exception of this song, and Chen seems keen to address this head-on. I don’t want to mince his words and I don’t speak Korean, so I’ve included his words (edited for light ribbing from his members and in translation) below: 

“I’ve been debating a lot. I can sing high notes, but then I sang high notes a lot in EXO’s albums too. [...] So I debated a lot, even when I released my first solo album, I sang too high … I became like a singer who sings high [notes]. Although that’s what I’m good at, I wanted to do it for a longer time. I’m getting older anyway, and I want this to be my strength for 10 to 20 years in the future. So I wanted to show it gradually over time.” 

I’m unsure if Chen is discussing his physical ability to sing high notes, which can be strenuous for a vocalist and may deteriorate their ability to sing over time, or on his longevity as an artist who is able to continue surprising his listener by doing something interesting or unexpected, with hitting high notes serving as the locus of his concern. I think there’s an ambiguity in the way that he talks about time that makes room for us to see Chen more deeply as an artist who has never been understood as anything but extremely talented. I’ll be the first to admit that I know very little about vocal technique, although it’s definitely not a stretch to say that there are many, many ways to be a talented singer not defined purely by range. Rather than split hairs about Chen’s vocal ability, I instead found his thoughts on exemplifying his talent as a singer to be a wonderful reflection on patience. To me, it seems like Last Scene has addressed the question of his ‘best’ by a purposeful omission, saying that his best is always moveable, always relative, always being negotiated. How might I learn from this ethos of continually finding new ways to be good to myself, to be a good-myself, to show my best sides both privately and publicly? 

<사라지고 있어 Last Scene> is Chen’s third mini album and his first release since returning from his military service. You can listen to the titular song, Last Scene, here, and the entire album here.

3. After Yang (dir. Kogonada) 

I found After Yang to be a quiet yet powerful piece of diaspora film that filled out the maximalism of Everything Everywhere All At Once. I loved the quiet domesticity of the film; at times, the futuristic setting was entirely alien, and at others I saw a vivisection of myself, my family, and my most intimate thoughts laid out on the screen. Of course, domestic life is also a major theme in the huge, extravagant, multiversal project of EEAAO, but the tenuously moving plot of After Yang situated the most wrenching, heartrending evocations in heartbeats of silence, hung as string lights over vignettes of quiet kitchen scenes, peaceful garden memories, and thick dark pigtails. The gentle attention that After Yang begs of its audience was almost refreshing, and reminds me that the most moving parts of my experience as a diasporic subject have been when nothing much happens at all. 

4. Jenny Nicholson – The Church Play Cinematic Universe 

This one is for me. 

Jenny Nicholson occupies the special place in my conscious that doesn’t really mind what it is obsessed with. The Church Play Cinematic Universe is loosely a video essay on a set of yearly Christmas plays put on by a megachurch in Canada that riff off widely known movie references to tell and retell the story of the crucifixion of Jesus Christ. More specifically, it’s a eighty-minute video of Jenny Nicholson scathingly unpacking the annual Christian-ification of beloved media franchises. Personal favorites include ‘The Lion King of Judah’ and ‘The Princess Bride of Christ’. 

Recently, a close friend’s father told us that in his 50s, he believes that the only media that truly sticks with you throughout your life is the things that you consume in your teens. I reference this now in a twofold sense: I can only seem to bring myself to this type of meaningless yet critical thought in reference to cultural locuses that have reached a critical mass of age and nostalgia, particularly if I haven’t experienced them myself (see also in this category: Eddy Burback’s ‘I ate at every Rainforest Cafe in the Country’, Defunctland’s 'Disney Channel’s Theme: A History Mystery’). The other sense is that the passion that video essayists have for inane topics tugs at my gut in a way that I can only understand through the way I feel when a random YouTube video I was fixated on in my teens lights all my cells on fire when it pops up. I would like in some sense to be incensed by anything as much as I was watching greedily everything that I could get my hands on, determined to brute-force my way into becoming a whole person through the Internet, no matter if that person (and their relationship to the Internet) came out like a grow-a-sea-creature capsule that got stuck in the plastic. Having now escaped my pill-shaped prison, I know those most intent obsessions were not a purely individual complex, but nothing elicits quite the same response. I appreciate Jenny Nicholson and her commitment to pedantry for reminding me that in those days and today, I am never alone online. 

To illustrate the ridiculousness of my point, I’ve attached a few links to videos that I would make video essays on if I was a content creator. 

BTS’s Blood Sweat and Tears ‘Ask In A Box’ (I have most of this video committed to memory)

ASMRrequest’s Departure Ep 2: Frontiers 

The Real Bros of Simi Valley: Season 1, episode 1

Thank you, 2022, for a bizarre list of things that have stuck with me into the new year. Onto the next!

[classicslesbianopinions]

okay. every thought i've ever had about hadestown (lie). this is going to be really long i'm not sorry

FIRST OF ALL. first of all. i have the Most brain rot EVER about our lady of the underground in which persephone does her "what's my name" and has the musicians respond the first two times but then the third time she points. to the AUDIENCE. and has US fill it in. and like. like. i have brain rot about this because like. each of the lyrics is Different. and no one else was singing there. so persephone is trusting that enough people in the audience know the show well enough (and have the confidence etc) to fill in that line. AND WE DID. this moment lives in my head absolutely rent free. like it's something you can Only do if the show's been running for a while and is fairly popular.

reeve carney is not a good orpheus but i could fix him. i literally could fix him. specifically he is so stiff and he's like. very much An Actor In A Role rather than like. embodying the role. but like the problem is he is not understanding the show he's in. he is playing it like it's a rock musical or something. like i can't believe i have seen both shows to say this but he was much better suited for the spiderman musical. but like. i feel like i have a lot of questions for the director because i really do think like. a director who understands orpheus would either cast someone else or push him to be looser etc. also i really hate his hairstyle i would rather it looked like literally anything else.

on the other hand reeve carney being so stiff as orpheus gave me a lot of thoughts about an orpheus who knows he's in the story and knows he's playing a role etc.

we saw an understudy for eurydice (grace yoo) and like. she was soooo good and very like. tender and open. which did make orpheus look SO stiff in contrast but whatever. and then also when things got more emotional she had SUCH a belt. like. there was so much EMOTION to her performance. i would probably die for her i'll be honest

when they're singing all i've ever known is how to hold my own but now i want to hold you too and they're like. holding their hands out to the sides but their bodies aren't really touching... that's what it's all about. i actually thought that song could've used Less touch (to make the tragedy more tragic) but i just have a lot of brain rot about gay people

the way like. every time i saw something and was like "huh that's a weird choice" or "that looks like a mistake" it literally did like. come back and turn out to be deliberate. like i was like. "huh there are only five people in the chorus that feels like a weird number. and there are three men and two women and it feels unbalanced." and then in act two eurydice became part of the chorus (WHICH. WHICH. WHICH. dare i say antigone coded <- guy who's only read antigone seeing any play). (also it parallels the way in wait for me there are like. five lights swinging around orpheus and then he's in the middle like. completing the circle.) and then also at one point eurydice and persephone were standing on either side of hades and eurydice was well-lit and persephone wasn't and i was like... okay so either that's on purpose or the lighting designer fucked up but the lighting design was so so perfect so obviously they didn't fuck up and i was RIGHT because like. the next song was persephone's and the contrast when the light went up on her was everything. sorry i forgot what song that was do you still think i'm hot

on a sensory level i did not enjoy like the experience of having lights flash in my face but as an artistic decision shining lights on the audience was such a genius idea. and ESPECIALLY the way the back lights are like. still on for most of act two... the audience is such a character in this play and it shows.

like in general the lighting design is so perfect. it's so everything to me. i would die for it probably

okay this one is like. specifically for the people with the same doctor who brain rot as me. sorry everyone else. but we saw the understudy (max kumangai) for hermes and first of all he was very very good but second of all at the beginning of act two katniss turned to me and was like. this hermes and persephone are like jack and rose (from doctor who). and i have to say that like. really influenced my perception of the show

specifically though hermes being younger gave him sort of an air of hope even though of course everyone knows this is going to end badly night after night

ALSO LIKE I ACTUALLY HATE KNOWING ABOUT TRAGEDY. THE MOMENT WHEN ORPHEUS WAS WALKING AND EURYDICE WAS BEHIND THEM AND I WAS SITTING THERE JUST WAITING FOR HIM TO TURN. ABSOLUTELY TERRIBLE. I CAN'T BELIEVE I'M SPENDING YEARS OF MY LIFE STUDYING GREEK TRAGEDY. KNOWING HOW IT ALL WORKS SUCKS.

the fact that they explain a greek chorus in the program along with the other mythical figures in the show

the way persephone moved was literally everything. she embodied the role so well. especially when she was dancing.

at the end when they did bows there was a standing ovation which was well-deserved except then everyone STAYED STANDING for raise my cup at the end which i think is ableist to me and katniss personally (guys who love sitting down and being seated)

every thought ever about the fates like. physically dancing with the characters and moving them around. by the way. really great interpretation of fate

weird to me how they like. try to be like "and the other workers can escape too!" when literally everyone knows eurydice isn't going to make it out. like i love anticapitalism but the whole point of this story is that you are nothing in the face of fate and the gods so like. being like "there are more of us than there are of them" doesn't like. make sense in the context. even though generally i think that's a good message

literally this isn't even all the thoughts i have but i can't remember the rest of them or make them coherent and that's probably for the better considering how long this post turned out to be. literally really well-executed show just like. everything about it was so clearly put-together

about to see hadestown live on broadway ama

[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

[anywaythewindblowsweek]

Any Way The Wind Blows Week: A Send Off to Jessie Shelton - September 4-10

Hey everyone it's Attie @threadcutters and Drago @eriktheshitmusician !!

Jessie, who had been a first "Fate 1" back in New York Theatre Workshop, will be leaving the Broadway production of Hadestown, where she also played a Fate One, a Worker and understudied Eurydice, on September 4th.

This sort of feels like an end to an era to us, in a way - as she’s one of the last principal cast members to leave, as well as one of the only things left tying us back to NYTW - (Patrick is still here, but he’s not specifically NYTW.) And as the NYTW production means a lot to the fandom, and the Fates in general need more love, we thought a send-off to Jessie might be a fun way to celebrate both.  So that's what's gonna happen! Inspired by Sephweek, Workers Week and Hermes Week - we threw something together! It formally starts on September 4th and goes through the 10th, but we thought it would be better to get the prompts out ASAP.

You can create anything centered about Jessie in Hadestown or reblog older ones tagged with #windblowsweek or @anywaythewindblowsweek and it will be reblogged to this blog.

It can be any type of work ranging from fan art and fanfics through gifs and edits, Cosplay, covers to infinity and beyond. You can even play a part of the show she plays on violin or do a piece of one of the dances. Whatever you can think of, that centers around Jessie and her roles in Hadestown.

You can choose from one of the prompts below and tag your work with the prompt name along with the general #windblowsweek, or tag this account! The prompts will roll out daily, but feel free to jump back to old ones or just create art unrelated to the prompts and tag us! Feel free to retroactively tag us in any work that you think fits too. 

Day 1, 9/4: Vipers and Vultures - Focus on Jessie’s work as a fate in the Broadway version of Hadestown, the fates in the Broadway version, the fates as narrative foils to Hermes or the manifestation of the characters’ inner psyche.  

Day 2, 9/5: Crows and Buzzards - Focus on Jessie’s work as a fate in the New York Theatre Workshop version of Hadestown, the fates in the NYTW version, the fates as stand ins for the ensemble, or their fluidity + ever present nature. 

Day 3, 9/6: In Her Shoes, In Her Skin - Focus on Jessie’s work as a swing for Eurydice or as a Worker: her characterization, how her portrayal + dynamic with the other characters differs from the other actors, and what makes it special.

Day 4, 9/7: You Get A Knife in the Back! - Focus on the Fates as bringers of fear and misery, their underhanded and sometimes violent tactics, or the moments when they seem to enjoy whispering doubt.

Day 5, 9/8: The Ones Who Bloom in the Bitter Snow - Focus on the lighter moments in the Fates’ lives: their dynamic with each other, Hermes, Hades and Persephone, or the moments where they seem to be acting out of kindness or mercy. 

Day 6, 9/9: Always Singing in the Back of Your Mind - Focus individually on Jessie’s fate herself - exactly how her portrayal carries throughout both versions, what goes on in her head, or how she specifically reacts to the events of the show. 

Day 7, 9/10: Set Out Walking and You Don't Look Back - Focus on all of Jessie’s work in Hadestown together, whether it’s just a simple send-off or something meta that ties it all together.

For the later prompts, feel free to focus on any version or expand some of the prompts to the other Fates! This is just for fun and to celebrate one of the most long-standing members of Hadestown! 

Have fun, go crazy, be wild. Happy creating!!

[fiddler-sticks]

@meant-for-originals Okay SO

IT WAS FUCKING AMAZING

There's NOTHING to explain the experience of hearing your favorite musical/music played live in front of your eyes, so I won't even try.

When I looked at the program to see the cast list, I was just about blown out of my shoes because fucking CHIBUEZE IHUOMA WAS PLAYING ORPHEUS!!!!!! I heard him sing some stuff in a few videos, and hoped he would be there (I'm not terribly familiar with the cast so idk if he was still a swing/understudy or actually Orpheus) and was so happy that I got to see him perform!!!

Hannah Whitley was Eurydice, and she was amazing also. I loved how rough her voice was, and how it kind of flipped into falsetto at the end of her notes sometimes.

Everyone else absolutely slayed. I wasn't the hugest fan of Matthew Patrick Quinn as Hades (he talked too many of his lyrics imo), but he was still great.

My dad watched it with me, and I was excited for him to see it because he likes Anaïs Mitchell's other music. He had only listened to the concept album way back around when it came out and read some articles and reviews beforehand saying that it was really political, so he was really wary of it. He said to me after he had seen the whole thing that he wanted to dislike it so bad after the first act, but the second act won him over. We were both sobbing our eyes out during Epic III/Instrumental/Promises lol

Anyway, I couldn't say enough good things about it even before I saw it live, but I love it even more after. Nothing like having your comfort music played live and blaring in your ears <3

I'll post some pictures really soon

Y'ALL I JUST GOT TICKETS TO SEE THE HADESTOWN TOUR, I'M SO SO SO SO HAPPYYYYYYYYYY!!!!!!!!!!!!!!!!!!!!

[ange-de-la-musique]

My thoughts on the Hadestown US tour 2021.

Orpheus and Eurydice: I loved loved loved Nicholas Barasch as Orpheus. I went in not sure about him, especially since Orpheus is my least favorite character, and came out absolutely adoring him. He has the voice of an angel and I’m pretty sure he was singing slightly higher than the score just because he could. He really put a lot of thought into the character and clearly knows how to work with a script to engage with the audience well. Personally I liked Reeve Carney but enjoyed Nicholas a lot more. Morgan Siobhan Green as Eurydice was probably the weakest cast member but she was still wonderful so that says a lot about how good the cast was. Her voice was phenomenal, her only downsides were that she seemed a little nervous and stiff at times, probably just needs some time to get settled into the role. However by act two she was absolutely killing it in the acting department, especially Flowers and her return to Hadestown after Orpheus turns around. Also we love a short queen, the ensemble would be kneeling and she’d be standing and still be the same height as them.

Hades and Persephone: Kevyn Morrow was a great Hades. Like Nicholas showing off his upper register, Kevyn was clearly having a lot of fun showing off his lower register. He clearly knows the value of restraint in acting, as he didn’t have a lot of movement at times but made it work in such a way that it came across very regal rather than stiff, then energetically burst out with action during His Kiss, the Riot. Kimberley Marable was such a fun Persephone, she didn’t play it quite as drunk as Amber Gray, but it still worked. She was a riot, absolutely having the time of her life and she stole the show every time she was on stage. Even in the more serious moments that she was in the background for she was clearly focused on what was happening in the story and how her character would react, such great energy and stage presence.

Hermes and The Fates: So Levi Kreis as Hermes was the cast member I was the most worried about, given how extremely different he is from André De Shields and how the character was originally envisioned. However I should have trusted the actor, as Levi clearly was aware of this and worked hard to make his Hermes a very distinct, new character from Broadway. He played the role very camp, almost feminine at times and it worked extremely well. He has a hell of a voice and played around with the notes throughout the show to show it off. He really knows how to play up to an audience, but did a perfect job of balancing the comedic moments with the somber ones, to the point of his voice actually cracking in a near sob during the finale. The Fates were exceptional, very talented, and very good at reacting to their costars, with beautiful and elegant body language. Watching them in the background of scenes was always very interesting as they were always doing little things to add to their characters.

The Ensemble: As with everything else, the ensemble was amazing. I’m pretty sure I got to see Alex Lugo, one of the the swings, in the worker’s chorus. I can definitely see why Will Mann is the Hades understudy, even when singing in the chorus his voice was so deep it stood out amongst the others. While passing out the mugs during curtain call for We Raise Our Cups, Jamari Johnson Williams tripped over a chair and went sprawling on the stage but he played it off so charmingly and amusing that I could feel the whole audience instantly fall in love with him.

The staging: It was very interesting to see what they did for a touring stage as opposed to the stage built into the theatre on Broadway. While they still had the turntable, it did not rise or lower in the center to function as the train. Instead they had panels in the back of the set under the balcony that opened with smoke effects and lights facing the audience when they opened to act as the train. In some scenes this worked great, even better than the Broadway version - such as Hades’ entrance being made all the more dramatic that all we could see of him was his silhouette wreathed in lights and smoke until he stepped forward into the light. However for some scenes it was less than ideal - the panels stayed open during How Long and watching the ensemble run off and on stage before and after that song definitely spoiled the effect. For the most part though the change made little difference to the quality of the show and my enjoyment of it, and served as a good alternative to the rising turntable. The rest of the staging is the same as on Broadway (I think Eurydice danced slightly less, but that may just be me misremembering exactly how much she danced on Broadway).

The merch: Overall pretty standard merch, however there were two necklaces for sale that were absolutely lovely. They were also selling mugs in the same style as used in the show with the Hadestown logo, which is insanely cool.

Overall an extraordinarily amazing performance with an exceptional cast, definitely worth going to see!

[irreplaceable-ecstasyy]

hadestown and favorite musical asks! (pick a few please love, I don’t know)

I’ll divide this post into two for each of the ask posts. Thanks bubs <3 <3

HADESTOWN

1. favorite character?  Perstephanie  Persephone!  I just love her wine aunt energy & also Amber Gray.

2. favorite person to play said favorite character?  Amber Gray!! And also, Afra Hines, this beautiful & amazing understudy. (Honorable mention: I’d love to see Jewelle’s performance now that she’s understudying Persephone!!)

3. character you relate to the most?  Most of the time, it’s Persephone but now, it’s Orpheus. You know, times being what they are now, I still see what the world could be, despite the way that it is. That bit of hope that the world could change somehow, I still hold on to that. And also, lalala all the way, gang.

4. character you would most like to play?  Persephone & The Fates! Unrealistically, I’d love to play Eurydice (but I’m an alto & I can’t do Eva Noblezada notes so...)

5. character you would most like to meet?  Persephone.  Holy crap, this is getting repetitive.  & I would also love to meet Hermes. I need me some of his wisdom.

6. most underrated character?  Worker chorus!!! They carry so much of the action & dancing that makes the musical so lively & amazing! 

7. favorite sung line(s)?  Show the way so we can see. Show the way the world can be. If you can do it so can she. If she can do it so can we. (From our national anthem, Wait for Me reprise. It gives me goosebumps every time!)

8. favorite spoken line(s)?  “He has the kind of love for her that you and I once had.” (This hits the feels very hard)

9. first song you heard from the show?  It was Wait For Me (reprise), Eva’s belt for the Gods and on the same day, I also heard Livin’ It Up on Top.

10. song you play on repeat?  Wait For Me (reprise) & Epic III

11. song you skip when it comes on shuffle?  Papers (Instrumental)

12. most underrated song?  Nothing Changes!! The harmonies & the acapella like wOw! Jewelle, Yvette & Kay are literally my favorite Broadway trio!

13. favorite head cannon?  There are so many head cannons.  One of my favorites is momma Persephone taking care of Orpheus when he was a kid.  So, we know that Orpheus’s mom abandoned him & Hermes took him underneath his wing. Whenever Persephone would go up top, she would always be the one taking care of Orpheus since she can’t have children of her own with Hades. There were a few fanfics flying around that I caught on @rollingthunder06 ‘s blog that I love so much. We stan momma Seph on this blog.

14. three words that describe this show?  Old, love, sad  Beautiful, tragic, jazzy

15. overall rate?  11/10 :)

[howtotrainyouragents]

Agent H’s Musical Reactions