Things I noticed in the Hadestown Proshot, as a certified FAN of the cast album:
-There are several vocal choices that absolutely broke my heart in the cast album that are much more subtle in the recording, but it is evened out but how many more vocal lines are punched up AND the blocking (oh my gosh the blocking)
-So many things that were subtext when audio are TEXT visually
-Main two being exactly how Hades takes advantage of Eurydice. It's more uncertain audio only but the way he loosens his tie... and the absolute heartbreak in Persephone's eyes...
-And the biblical imagery of Snake and Song Bird. The way the serpent speaks to the woman, when her husband is RIGHT THERE! The framing of the scene, he's literally out of focus just over her shoulder, focused on something else and neglecting to protect his wife from their nefarious adversary. "Did he really say..."
-Speaking of snake, the snake skin on Hades arm garters and boot (I assume boots, plural, when the actor isn't injured, which he does manage to work into the blocking and character pretty effectively)
-Persephone has a drinking problem, having to drown the horrors she witnesses again, and again, and again
-the Epics are all pretty boring on the soundtrack but really stunning in their blocking on stage
-THE WERE ACTUALLY LEADING THE OTHERS OUT THE WHOLE TIME, AHHHHHHH
-Everything with the lighting and blocking while they're heading out and you do understand Orpheus' fear, because Eurydice does actually disappear entirely. It's so eerie.
-the shots of up and down in the elevator that the audience would never be able to see are SO FREAKING COOL and fill me with joy.
-"the whole Damn Nation" is a piece of wordplay I somehow never noticed.
-it's more effective when the 3rd fate is an actual alto, but you can't have everything
-Speaking of the fates though, it's clear that the fates are actively against Eurydice, not just observing and pointing out things, they are actively antagonizing her. (The bit with them stealing her bag and coat almost set me off, that poor sweet child)
-Eurydice seems more delicate, I suppose. More in need. She comes across as very self assured in audio only, but her visual acting choices, along with actively different line reads than the cast recording. I wonder how much has to do with the real life romance between Eva and Reeve.
-The resetting of the stage and costumes to the beginning as we enter the final song. Because they're going to tell it again.
-I didn't realize he really hadn't made it out. I always envisioned it as him reaching the door and turning around before she made it. But he really did fall to doubt.
-And Hades fell to his own pride. It could have been SO easy, but the parallels between these two men were too close. He gave up the good will of his love for power, so he wouldn't lose her (so he thought). That's were the tragedy began. Long before Orpheus turned around.
-And, while not a pro-shot specific note, I had to comment to my companion...There's something about a tragedy. They have their place in the canon of the arts, but... as a Christian, we know THE story, God's story, is not a tragedy. All conflict has its place, because in the end, the Groom DOES lead his bride out of Hell. And you know, the storytellers, the creators of this show, KNOW THAT. They know this ending isn't right. It is unsatisfying, though beautiful in it's execution. And I know this, because at Reeve's last show, they did let him lead her out. When they wanted to show their love for their actors, for their audience, and this story... they let their hero succeed. They let him represent Christ to her, as a husband should. They know in their hearts, because all art is prompted by the image of God in us, THAT'S the real story.
areudirty
origamiaround
tangentwithtanner
ellievsbear
prguitarman
2087
gamechangershow
