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strawberry-cloud-analyses · 4 years ago

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Theatre Thurs - April 15th

Hadestown is a musical that hit Broadway in March of 2019. Originally performed in Vermont in 2006, and with an earlier concept album coming out in 2010, the music and production of Hadestown has gone through a lot on the journey to Broadway. A Greek Tragedy with a Jazzy Twist, Hadestown has proven to be a success with audiences and critics alike.

And brother, thus begins the tale of Orpheus and Eurydice!

It’s a love song. It’s a love song!

It’s a tale of love from long ago

It’s a sad song. It’s a sad song!

But we’re gonna sing it even so

It’s an old song. It’s an old song!

It’s and old tale from way back when

And we’re gonna sing - We’re gonna sing

We’re gonna sing it again!

This is an introduction post to a four part series (six if you include the intro and conclusion) on Hadestown. Each part will cover ten songs in total, the introduction will cover more history and background, then the conclusion will cover more of my overall opinion on the show (spoiler- it’s really good).

Dropping music throughout the earlier months of 2019, as well as show clips and live performances really built up hype for this spectacular show. Once the whole soundtrack was released in July, it was on repeat for months on my Spotify and I’m sure I wasn’t alone in that.

Through multiple revisions of the musical as a whole, the story has remained mostly the same. It’s two Greek tragedies in one, and with a fun jazzy twist on top of that. Hadestown merges the stories of Orpheus (Reeve Carney) and Eurydice (Eva Noblezada), and Hades (Patrick Page) and Persephone (Amber Gray) to create one fluid and dynamic narrative on-stage.

Other cast members are Hermes, played by Andre De Shields, and the Fates who are currently played by Jewelle Blackman, Yvette Gonzales-Nacer, and Kay Trinidad. There’s also a decently-sized ensemble, and a live band that plays on the stage for at least part of the show.

Nominated for fourteen Tony Awards, and winning eight of them including the all-important Best Musical and Best Original Score, Hadestown has been wowing audiences since its debut. It also has a spectacular set design, featuring a rotating stage and an in-floor elevator in the center.

I’ll further indulge my love for the lead’s and their voices in later posts, but a small mention to Noblezada’s gorgeous and powerful belting voice, and her insane range, as well as Page’s impressive lower register.

Hadestown is a new telling of classic Greek mythology (which I’ve always been obsessed with- you’ve been warned) that had spent a year on Broadway before everything got shut down. Here’s to hoping it comes back soon, I have see it before it goes off Broadway again!

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Here’s the first Theatre Thursday, Hadestown! It’s a little shorter then the other posts will be, since it’s just an Introduction to the next five TT posts. Next Week we’ll cover Road to Hell - A Gathering Storm.

Stay Sweet!

- Victoria Rodasta

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Next Week:

Miscellaneous Monday - Body by Mother Mother

Theatre Thursday - Hadestown Part One

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Follow me for more!

Insta: @strawberry.cloud.art - Tumblr: @strawberry-cloud-analyses

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countbezukhov · 4 years ago

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could you list the main differences between nytw hadestown and the broadway version?

Of course anon! Disclaimer, I am no shape or form an expert on both productions, but these are some of the differences I know (or can think of really). 

-The cast is different. Orpheus, played by Reeve Carney in the Broadway and London productions was played by Damon Daunno in NYTW. Eurydice, played by Eva Noblezada in the broadway production was played by Nabiyah Be in NYTW Hadestown. Hermes, played by Andre De Shields in the Broadway production was played by Chris Sullivan in NYTW Hadestown. The Fates were played by Lulu Fall,Jessie Shelton and Shaina Taub in the NYTW production while they are played by Jewelle Blackman, Yvette Gonzales-Nacer and Kay Trinidad in the Broadway production. I don’t know if this is what you meant as differences, but it is a difference nonetheless, so I guess here it is.

- The songs are different. Apart from some very obvious lyric changes (i.e. Persephone’s Chant II verse that was ultimately cut after previews on Broadway, that I am still very bitter about), songs like Chant, Wait For Me, Road to Hell sound very different. To be fair the NYTW production is much more similar to the original concept album Anaïs Mitchell debuted in 2010. It is certainly more folk-y than the Broadway version. The Broadway version is more narrative. The song order is slightly changed and the lyrics are much more cohesive with the storyline. I also believe there are more songs in the Broadway version, but please do not hold me accountable for this claim I’m running on a short supply of brain cells at the moment.

- Orpheus as a character. NYTW Orpheus and Broadway Orpheus are incredibly different. This is the worst explanation of it ever and there are amazing, amazing people out there who know much more about it than I do and have written super detailed character analyses on the matter but simply put, NYTW Orpheus is much more confident. To be fair, this isn’t more of a NYTW to Broadway thing as it is a London National Theatre to Broadway thing. Broadway Orpheus isn’t confident. He isn’t meant to be sure of himself. He is shy, awkward, clumsy, incredibly poetic (yet still very much in love with Eurydice). I personally find it fascinating to observe the differences Daunno and Carney’s portrayals of the role as they sing the same songs in immensely different ways and convey vastly different personalities within the same range of a character.

- Most of the characters are different really. I find that Broadway Hermes is much more involved with Orpheus’ well-being and that Broadway Eurydice (for a reason I cannot explain or know really) is a tad bit more badass than NYTW Eurydice. I believe the Fates are much more distinguishable as individual characters (Clotho, Lachesis and Atropos, my darlings) and are more pivotal in moving the plot forward in the Broadway production (this is just my opinion though).

moral of the story(?) (i don’t think there is meant to be one but i couldn’t think of a way to conclude this without making it sound like an essay): It is very normal for productions to develop and change over time. They adapt to their intended audiences and stages. It doesn’t really matter which one you like better, all productions are equally astounding, and I personally really enjoy seeing the subtle (or not so subtle) differences in each production and how they have an overall effect on the musical.  

These are some I can think about, I apologize if this is too long or too short depending on what you were expecting anon. I’m not sure if I answered your question correctly. I’m very sure I’ll remember something I forgot to write on here the moment I post this but whatever. I’m so sorry if this wasn’t what you expected. I’m quite sleep-deprived and running on a few too many cups of coffee (well, too much is relative really). Thank you for your question though. I appreciate it. I hope you have a lovely day.🤍 🤍

#thank you anon 🥺#ty for the ask <3

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druid-for-hire · 6 years ago

Audio

HADESTOWN, BROADWAY, Apr 25th 2019

Reeve Carney as Orpheus; Eva Noblezada as Eurydice; Amber Gray as Persephone; Patrick Page as Hades; André de Shields as Hermes; Jewelle Blackman, Yvette Gonzales-Nacer, Kay Trinidad as the Fates; Afra Hines, Timothy Hughes, John Krause, Kimberly Marable, Ahmad Simmons as Workers Chorus.

Liam Robinson as Conductor/on piano/accordion; Dana Lyn on violin; Marika Hughes on cello; Michael Chorney on guitar; Brian Drye on trombone/glockenspiel; Robinson Morse on double bass; Ben Perowsky on the drums/percussion.

Notes & lyrics:

(Note: these lyrics are directly transcribed out of the audio and i’m going off my memory, so there may be inaccuracies.)

[The turntable rises. Eurydice is gone, and in the very center is her red carnation. Orpheus appears onstage from stage right.]

ORPHEUS Mr. Hermes!

HERMES Hey, the big art-eest! Ain’t’cha workin’ on your masterpiece?

ORPHEUS Where’s Eurydice?

HERMES Brother, what do you care? You’ll find another muse somewhere.

[Orpheus steps down into the main stage, looking around.]

ORPHEUS Where is she?

HERMES Why you wanna know?

ORPHEUS Wherever she is Is where I’ll go

HERMES And what if I said she’s down below?

ORPHEUS Down below?

[Orpheus looks at the carnation. Dread and horror dawn on his face.]

HERMES Down below. “Six feet under the ground” below.

[Hermes steps down onto the main stage from his post at the mic stand.]

She called your name before she went, but I guess you weren’t listening.

ORPHEUS No...

[He bends down and picks up the flower delicately.]

HERMES So. Just how far will you go for her?

ORPHEUS ... to the end of time.

[He extends his hand out towards Hermes with the flower.]

To the end of the earth.

HERMES You got a ticket?

[Orpheus’ arm lowers.]

ORPHEUS ... no?

HERMES Yeah, I didn’t think so. ‘Course, there is another way, but, eh--

[Hermes turns away and waves a dismissive hand at Orpheus.]

I ain’t supposed to say...

ORPHEUS Another way?

[Hermes turns back to him, leaning in.]

HERMES Around the back. But that ain’t easy walkin’, jack. It ain’t for the sensitive of soul, so do you really wanna go?

ORPHEUS With all my heart.

HERMES With all your heart? Well. That’s a start.

[The lights dim and turn off, except for the orchestra’s music lights, a light on Hermes, a light on Orpheus, and a little bit of ambient light on the main stage.]

How to get to Hadestown: you have to take the long way down, through the underground, undercover at night--layin’ low, stayin’ out of sight.

[Workers appear, lined up on the outer turntable ring on stage right, headlamps shining as they look around¹, each carrying the heads of a larger ceiling lamp. Orpheus walks along the outer ring of the turntable, which spins against his pace, and meanders through them. Fog begins to roll in over the ground.]

Ain’t no compass, brother, ain’t no map, just a telephone wire and a railroad track. You keep on walkin’ and don’t look back ‘till you get to the bottom land.

[The turntable stops; Orpheus is center downstage and holds the flower out in front of him. The Workers behind him, in formation, each turn in circles in a swayed rhythm, lamp heads in hand and their headlamps casting all around as they turn.]

ORPHEUS Wait for me, I’m comin’ Wait, I’m comin’ with you Wait for me, I’m comin’ too, I’m comin’ too

[Orpheus is on the turntable again and the Workers line up on the center turntable as it spins them, their heads and bodies bobbing, headlamps flashing and shining all around. Orpheus dips his head under the lights a couple of times.]

HERMES The River Styx² is high and wide, cinder bricks and razor wire, walls of iron and concrete, hound dogs howlin’ ‘round the gates. Those dogs will lay down and play dead, if you got the bones, if you got the bread, but if all you’ve got is your own two legs--just be glad you got ‘em!

[Orpheus is brought back to center downstage; the Workers’ headlamps have turned off, and have attached the lamp heads to cables that have come down from the ceiling in a C formation along the turntable’s outer ring, the break being where Orpheus is. They pull them back towards center upstage, then push them out as golden light blooms from each of them and crouch down out of the way. Orpheus stands with the flower in a hand outstretched against a backdrop of swinging lamps.]

ORPHEUS & WORKERS Wait for me, I’m comin’ Wait, I’m comin’ with you Wait for me, I’m comin’ too, I’m comin’ too

[The Workers stand up and still each of the lamps, holding them where they naturally hang. Their headlamps burst to life and focus on Orpheus, and a bright white spotlight comes down on the very center, who startles and turns around, shielding his eyes against the light. The Fates appear suddenly: one on the onstage stage right exit, one on the balcony, one on the onstage stage left exit, each holding a lantern. The Workers bob up and down in sync.]

FATES Who are you?

[Orpheus wanders in towards the very center of the stage, then turns to the audience.]

Where do you think you’re goin’? Who are you? Why are you all alone? Who are you? / Who do you think you are? Who are you? / Who are you to think that you can walk a road that no one’s ever walked before?

[He shuts his eyes and sings.]

ORPHEUS La, la la la, la la la...

[The turntable slowly begins to elevate under him as his melody floats into the air and sinks into the ground. The Workers still and stand straight, awestruck. Orpheus looks around, startled by what he’s seeing, and keeps singing with new energy.]

La, la la la, la la...

WORKERS La, la la la, la la... La, la la la, la la... La, la la la, la la...

[Industrial lamps along the ceiling light up; the Workers look around to the walls, their headlamps also serving as pointers to where the audience should look. The stage heaves and rumbles and cracks open as the stones of the River Styx move aside, revealing passages of pipes and machinery, factory lamps burning bright. The Workers turn and face the audience, looking around as if the same thing is happening where they are. The golden light of the Underworld spills onto the stage.]

ORPHEUS & WORKERS La, la la la, la la la... La, la la la, la la la...

[The center turntable begins to lower.]

La, la la la, la la...

[Orpheus hops off the center turntable onto the outer ring, which spins faster as he runs faster as well, spinning him ‘round the stage more. The golden light turns back down except for the industrial lamps that burn low light and the swinging lamps. The Workers line back up in the center and their headlamps switch on as they bob up and down, scouting like searchlights.]

HERMES You’re on the lam, you’re on the run Don’t give your name, you don’t have one And don’t look no one in the eye This town will to suck you dry, they’ll Suck your brains, they’ll suck your breath They’ll pluck the heart right out of your chest Truss you up in your Sunday best And stuff your mouth with cotton

[Orpheus ends up center downstage again, and again the Workers take the lamps and swing them into the audience, this time joined by a cascade of blue spotlights on Orpheus and across the whole of downstage. They are still bright, but calm down and dim towards the end.]

ORPHEUS & WORKERS Wait for me, I’m comin’ Wait, I’m comin’ with you Wait for me, I’m comin’ too, I’m comin’

[The Workers catch their lamps and stand in formation. For each “wait” they cry, spotlights flash on Orpheus, each time getting brighter, then joined by ambient golden light flashing along the ceiling.]

WORKERS Wait!

ORPHEUS I’m comin’, wait for me

[The Workers crouch down.]

WORKERS Wait!

ORPHEUS I hear the walls repeating

WORKERS Wait!

[They begin to walk backwards.]

ORPHEUS The fallin’ of my feet, and

ORPHEUS & WORKERS It sounds like drummin’

[They rush back up to the lamps, pointing them all suddenly directly at Orpheus in sync.]

WORKERS Wait!

ORPHEUS And I am not alone

[The Workers turn back to the audience, holding the lamps directly over their heads.]

WORKERS Wait!

ORPHEUS I hear the rocks and stones

WORKERS Wait!

[They crouch.]

ORPHEUS Echoin’ our song

[The Workers rise up again slowly and grasp their lamps.]

ORPHEUS & WORKERS I’m comin’!

[Orpheus moves backwards into the center stage, which begins to sink. The Workers send the hanging lamps spinning in short circles and crouch. Orpheus gazes up as the golden lights of the lamps pass over him, illuminating his skyward gaze as he lowers and vanishes from sight. On the final beat, all the lights cut except for the golden light that spills from the Underworld from the cracks in the Styx.]

¹ I got flashed in the face for a solid two seconds. ² André messed up his line here. Uh, oops. ³ The applause lasted almost half a minute.

#or someone that i queue-sed to be #audio #hadestown #hadestown song by song

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gracefc · 6 years ago

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Hadestown Audio 4.25.2019

Pretty sure this exact audio has already been posted on Tumblr, but here’s another version if you want it.

Download here.

Evidently Eva had laryngitis this night which is... literally incomprehensible considering how good she was. It’s an amazing show! I loved it so much! I saw it twice! Ask me anything!

Original Broadway Cast

Hermes - André De Shields

Orpheus - Reeve Carney

Eurydice - Eva Noblezada

Hades - Patrick Page

Persephone - Amber Gray

Fates - Jewelle Blackman, Yvette Gonzales-Nacer, Kay Trinidad

Ensemble/Workers Chorus - Afra Hines, Timothy Hughes, John Krause, Kimberly Marable, Ahmad Simmons

Conductor/Piano/Accordion - Liam Robinson

Violin - Dana Lyn

Cello - Marika Hughes

Guitar - Michael Chorney

Trombone/Glockenspiel - Brian Drye

Double Bass - Robinson Morse

Drums/Percussion - Ben Perowsky

#Hadestown #musicals #broadway #Hadestown OBC #my audio

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beyondthesunrise · 8 years ago

Photo

In this edition of All Madam Secretary guest stars are Broadway actors: Olga Merediz. She’s playing a Congresswoman. Abuela’s moving on up :P

#Madam Secretary #Olga Merediz #she's the 3rd OBC member of Heights I've seen #and Yvette Nacer-Gonzales (tour cast) was in a recent episode #Mandy has a small reoccurring role #let's get Chris in and have them do a scene together :P #Chris does work for CBS so why not

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fourteenacross · 6 years ago

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hadestown - 5/26/19, 3pm

We also saw Hadestown while we were in the city for Octet!

Sooooo, as I mentioned before, I saw Hadestown off-broadway at the NYTW in the spring of 2016. I had previously been familiar with the album, as Orpheus and Eurydice is a particular favorite myth of mine. I can't 100% remember, but I think that someone told me to listen to it when I was writing my X-Men Orpheus&Eurydice story? Either way, when we found out it was going to be playing while @pearlo was in town, we got tickets, along with @littledust and @anachronistique. And it was great!! I truly enjoyed it! I've been listening to bits of it regularly ever since! (Ish. There was like, a good eight months where all I listened to was podcasts, books, and Ghost Quartet.)

I'm saying all of this because this review is...pretty critical? And I want to make it clear that I do love this music and enjoy this show and I had a good time and I would recommend it, probably! But I wasn't as in love with the production as I was with the NYTW production for a few reasons that I'll get into below the cut.

So, usually I go song by song, but I feel like the things I have to say are largely broader than that, so I guess I'm just going to jump right in.

The cast is largely excellent. Patrick Page and Amber Gray could murder me and I'd be okay with it, tee bee aitch. Patrick Page does a thing with his face that just makes me cry, I don't know how he does it. Sorcery, probably. And Amber Gray is an actual goddess, for reals, how is she even real?

I loved Eva Noblezada's take on Eurydice! She had this sharp, broken energy to her that was truly incredible. She was like...spunky. And it was excellent.

I loved Andre De Shields' energy. His movement was unreal. His voice didn't work for me in places, but that could have just been the sound design of the show--there were bits where it was really hard for me to make out what he was singing.

Jewelle Blackman is AMAZING, as are Yvette Gonzales-Nacer and Kay Trinidad. They've really turned the Fates into a more menacing presence, and while I ADORE Lulu Fall and Shaina Taub and missed seeing them, I didn't MISS them, if that makes sense.

Reeve Carney. Oh. My dude. You are certainly a white boy with a guitar.

And here's where it really starts to break down for me. I have two major issues with the show, and the first one is that I find absolutely nothing exceptional in Reeve Carney. I cannot understand why this cagey, feisty girl who's been hurt before would throw everything in with this weirdo, IMMEDIATELY POSSESSIVE kid who's singing her a song? Lisa framed it as, "She's nineteen and she's literally never met a nice man before," and I can kind of see it through that lens, but I also don't think that's the lens that the show wants me to see it through. It wants me to frame this as a beautiful, epic love story, but I don't buy that she's in love with him. Maybe I'm too gay for it or maybe it's the writing or maybe it's the acting, but it doesn't connect for me, and once that connection is broken, the whole show sort of falls apart.

I don't recall having this problem with the NYTW version. It could be that since that version started with the two of them already in love, it was easier to wave it off as some off-stage wooing that already happened and accept that there were reasons they were together. It could have been that Nabiyah Be's Eurydice was a little softer and more naive. It could have been that I empathized more with Damon Daunno's Orpheus. Whatever it was, I found it much easier to accept that they were in love, which made Orpheus' neglect feel so much more painful and Eurydice's choice so much more desperate and all that followed so much more heartbreaking.

Basically, most of the stakes stop being so high if you don't buy into their love, which I just...did not.

My other major issue, to get that out of the way up front, is the pacing is still not great. Although I didn't write up notes after Hadestown in 2016 (I saw it literally hours before I saw Hamilton for the first time), I remember talking with my friends about how the beginning is very tight and the middle-to-end are kind of a mess and bloated. I didn't follow the show closely while it was out of town and I guess I kind of hoped that it would have been tightened up more, but no. It was not. It still feels very over-full and there's now this number where Orpheus gets beat up by the Hadestown workers that's like...comically over the top. In my heart, I really feel like this could be a one act show, or at least a two act show with much shorter acts. "Wait for Me" is SUCH a good act one finale, but you lose some of that energy moving to "Why We Build the Wall," which I think would work just as well as an opening to act two, as much as I love the way "Our Lady of the Underground" is staged.

Anyway, all that being said, I still enjoyed it and still cried, so what do I know, right?

Road to Hell: I liked this as an introduction overall, and loved the little intros for all of the characters. It really sold me on Andre De Shields, too, esp because I loved Chris Sullivan so much.

Any Way the Wind Blows: This is such a great song and god, I loved the way Eva played Eurydice. The candle thing was a nice touch.

Come Home With Me: I can't believe I'm supposed to care about this kid.

Wedding Song: I liked the new twist on this, although I think I like it better a more earnest song. Still, Eurydice using this to sort of mock Orpheus about being a broke artist was a cool twist and Eva sold it.

Epic I: This was fine. It's explained either here or earlier that spring and fall have more-or-less disappeared because Persephone is being forced to spend more time in the Underworld and is being brought back down sooner. The implication, as we get further along in the story, is that Hades doesn't know how to connect to Persephone any longer and is keeping her around more both a) as a show of power and b) because he doesn't know how else to express himself to her.

Livin’ It Up On Top: I would absolutely kill for Amber Gray. This version of Persephone is drinking to cope. A LOT. It paints this sad, lovely picture of what she's been feeling.

All I've Ever Known: I just do not buy that they're in love, sorry.

Way Down Hadestown: The staging and set of the show are fantastic. There's a panel at the center of the stage that rises and lowers as needed and the visual of Persephone and Hades, stony faced both, sinking back into the underworld is perfect.

A Gathering Storm: The through line about the weather mostly works for me, but honestly, I was so distracted by how annoyed I was at Orpheus during this number that I was pulled out of the moment.

Hey, Little Songbird: Skipping ahead a little, Patrick Page is perfect, in case you were wondering. I tweeted something like that after NYTW and he clearly found it in a vanity search and replied very humbly, which I find quite charming. But yes, I adore him.

When the Chips are Down: This is one of my favorite songs in this show and the Fates kill it here. Their slightly more sinister characterization makes it more haunting than taunting and I'm into it.

Wait For Me: The lighting in this number deserves a Tony all on its own. Jesus Christ, that's art. The set is also incredible. As Orpheus moves down into Hadestown, the stage splits apart from an intimate cafe into a larger, more industrial space. Very cool.

Why We Build the Wall: Again, Patrick Page is excellent. This works really well to pull Eurydice in, as well. We see her slowly starting to accept this way of thinking as she listens to Hades. And, of course, Persephone's act-ending line is perfect.

Our Lady of the Underground: Amber! Gray! Is! Wonderful!

Flowers: My actual favorite song in this show. Eva nails it, it was beautiful and poignant, on the heels of her slow realization that this isn't what Hades said it would be at all, that she's forgetting her name and who she is as she slowly is sucked into the capitalist machine.

Then in here is some more Orpheus stuff, including the ridiculous fight scene where he’s beat up by the workers?

There’s also this subplot that the workers think that if Orpheus can get out, they can get out too, so he’s leading like, a whole little revolution? Except that isn’t really expanded on at all and kind of falls away. It also, imo, takes these weird steps towards turning it into a different story than it is. If you’re pushing that it’s a love story, a love song, so much and then at the last minute paste on this “also a revolution is happening????” and then drop it for the emotional climax like...what are you doing, why is this here?

But also, there's this bit where Hades says "Have a drink!" to Persephone and she says something like "I'm done with that" and it is a real (pun not intended) sobering moment for the two of them. Ugh, I just really love them and the complexities of their relationship.

Epic: Patrick Page's face is very good at acting. The rest of him, too, I guess, but even from the cheap seats, I got SO worked up over Hades' quiet slip into acknowledging the despair that he feels over his inability to connect with Persephone. The guy on Naomi's other side was full on crying, even more than me. It was honestly glorious.

(I have a lot of thoughts about Hades and Persephone, and, to be honest, they’re my main draw to this show. I’m fascinated by their relationship here and the way it’s broken in a way they’re not quite sure how to fix. Against all odds, I’m rooting for them, I want it to work for them, if only because they both seem to remember this time when they were in love and nothing else mattered. I think that’s part of why the parts of this incarnation that don’t work for me...don’t work for me. I’m already more invested in Hades and Persephone than Orpheus and Eurydice, so when I have to work ten times harder to feel for their relationship, it just doesn’t seem worth it, especially next to one that I’m sucked into almost against my will.)

Doubt Comes In: I will give Reeve Carney this--despite knowing how this story was going to end, I still felt the creeping tension and dread in those moments leading up to him turning around. A woman behind Lisa said, "Oh no!" out loud, even.

Road to Hell (Reprise): And this is the other place where I cried, of all things! This number ends up being about how we know that this is a sad story and we know how it ends, but we keep telling it anyway, because that's what stories are there to do. I got weepy, who knows!

I Raise My Cup: So they moved this to after the curtain call??? I....don't know if it works like that, tee bee aitch.

ANYWAY, those are my thoughts, mostly I'm tired of typing this and the deadlines that I started writing it to avoid are looming, SO. I enjoyed it a lot, despite the things that bothered me, but I would probably not spend $150 to see it again. Rush tickets, maybe.

#show notes #tag two #tag three #tag four #tag five #hadestown

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