Lover Girl

Pansexual and proud💖💛🩵May 23♊|26|This Barbie is ready to commit 😌✨

[eggyolkperona3000]

Master doc that contains different resources and support for many countries including Palestine, Congo, Haiti, Hawai’i, etc ((op is underneath the link))

Master Document

Master Document

[xenonsense]

[ID: Tweet by Nanu's eyebrows 🇹🇹❤️🔱… @ Seaweedlagoon which reads: "I'd appreciate if you guys would spread around my master document that not only contains support for Palestine but other countries as well, I'm updating it with resources for Puerto Rico, Lebanon and Trinidad and Tobago tomorrow!" With a link to the above doc/End ID]

[totallynotcensorship]

know what? am actually gonna pin this. this is too good

[starspork]

We Raise Our Cups really fucks with me. It’s brutally hopeful. It’s a farewell to Orpheus. Sure. everyone knows that. but. its also a call to action.

Hadestown is not subtle in how it shows the power of revolutionaries, of love and hope and human compassion over that of the capitalist cycle of abuse. WRoC is talking about Orpheus. But it is also talking about every person with that revolutionary spirit.

Orpheus is all of us, and every person who stands against exploitation, is Orpheus. The theme is there, but it’s especially strong in Is It True, where he stands against the Fates themselves to challenge the world, only bolstered by the normal people that stood up and heard his words and showed him the power of words.

When Persephone asks where Orpheus is now, it is not entirely that she wonders where the man himself is, but also that she is pouring a drop to every person who holds his legacy and fights for the cause.

Then they praise the birds who sing in the night and the flowers that bloom in snow. A metaphor for those people who fight to make beauty in inhospitable places, who strive for good in darkness.

“To Orpheus, and all of us”

To Orpheus, to those who hold his spirit, to those who lead revolutions, and to those who follow him. The cycle of Orpheus and Eurydice is a love song. It is a tragedy. And yet we all know that one day. one time. they will make it out together. It is on that day, when an Orpheus finally manages to bring their Eurydice back, that the revolution succeeds, and the Shades get to follow their path out of Hades. And the mortals get to live free from the poverty and despair of their oppression.

We sing the song even though it is sad, because we know that spring will come and the world will go back in tune once they make it out together. And Hades can take the seasons, the food from our mouths, the fire from our stoves, every ounce of gold from the rivers, but what he cannot take, nor any other like him, is our songs and the cries of an impassioned heart. And may those songs inspire a thousand Orpheus’ to journey to defeat Hades. Because eventually one will win. It only takes one.

So let the song reach the next Orpheus, wherever they are wandering. Alone on this Earth. And let the song comfort them as they start the cycle again.

[redwing-blackbird]

I’m as big a fan of an Orpheus who collapses and full on lays on the floor a la Jack Wolfe as the next person but tbh I love Reeve’s reaction to Eurydice’s return to the underworld in the proshot. The way he just falls to his knees with his hands in front of him and stares down into the hole really resonates with me because that’s exactly how I’ve reacted to sudden death in the past. He’s in shock. He’s fully in shock; he can’t comprehend what’s just happened. They were so close and she was right there and now she’s gone and until his brain processes that fact his body is just frozen and unable to react to anything. I love that he doesn’t move until well into the next song. I love the look of solemn resignation and the little nod he gives Hermes. Hadestown had already cracked his faith in himself and in the world he dreamed about but it’s in that moment I think it fully shatters. Right at the end before he leaves the stage, that expression on his face looks like acceptance to me. Acceptance of the way the world is, the reality of losing Eurydice a second time, the knowledge that there’s no trying again. He’s alone now and that is the way it’ll stay. He’s not naive anymore.

[stuckinapril]

Very true

[stuckinapril]

I’ve been thinking a lot ab this

[kosmogrl]

[mariahpixels]

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[kosmogrl]

[kosmogrl]

[colortheparacosmist]

Having seen the proshot, I think a Hadestown movie would be acceptable if (and only if):

- Anaïs Mitchell had creative freedom over the whole thing

- we still see a ton of the same blocking from the show included

- zero change in the music

(Basically what I’m saying is that part of me reeeeally wants to see Hadestown/the station/the fates/Epic (“laa la la laaaa la la laaaaaa”)/Eurydice’s deaths/etc. illustrated. so bad. while still keeping the beautiful symbolism and detail and everything from the show augh)

it would also be pretty cool to see Reeve and Eva as Hades and Persephone… I doubt their ranges would make it all the way and giving other actors a shot would be great but oughh…

I’m getting similar vibes about it to the Wicked movies; it’d be reallllly cool to see the story as beautifully realized into a movie and see the whole big image of Hadestown, but at the same time, it’s already kinda perfect. We don’t need more songs or more scenes or

Yknow what never mind I’d probably devour a movie if one came out but we don’t need one

The proshot was peak (don’t even get me STARTED on the benefits to the theatre world and just how crazy this whole thing is omg im in loooove)

tl;dr I changed my mind it’s perfect as it is. We love you Hadestown musical

[duel-of-the-dolls]

“And brother, you know what they did? They danced”

[ferretrade]

ok but eurydice is hungry all she wants is food and shelter and she has no way to get that but sign her life away to endless dehumanizing work that isolates her and leaves her to forget herself

hadestown really said capitalism strips you of your personhood and uniting through optimism and hope is the only way out (and if it doesn't work this time we're gonna sing it again and again)

[future-crab]

Imagine being Anais Mitchell and writing a song about the rhetoric of fascism so incisive and prescient that 10 years later an actual fascist would use that exact rhetoric down to the highly-specific phrasing in his presidential campaign. But also it took 10 years for the project you wrote that song for to move from living room shows to concept album to theater workshop to off-Broadway to Broadway, and its Broadway debut ended up coinciding with said fascist's successful bid for the presidency, and now it looks like your song that you wrote in 2005 is a super unsubtle reference to that one particular and highly-topical politician.

Frankly if I were her I would have started killing.

[we-will-all-be-stories]

Among the many amazing aspects of the Hadestown pro-shot, one of my favorites is the way Patrick Pages injury provides an excellent example of how disability does not have to be barrier to musical theatre. The way his injury was presented, especially in Hades and Persephone's dance, shows how with enough care, choreography and blocking can be modified for a disability and still present a beautiful story. In fact, the pro-shot shows how disability can not only be accommodated, but also utilized for characterization and storytelling.

[the-voidlingg]

watched the hadestown proshot yesterday and. songbird vs. rattlesnake and flowers have always both held a shit ton of sexual abuse undertones but god you could really see it in the proshot. the fact that hades tells persephone that if she "doesn't want my love, I'll give it someone else who does" then immediately turns to Eurydice as he continues. the expression of fear on persephone's face. the fact that eurydice is so terrified yet just a bit entranced by him, but also needs what he has. orpheus jumping between eurydice and hades during way down hadestown-- which feels funny at first because it's itty bitty orpheus trying his best to protect her from Hades-- and then not being able to keep her from him, anyways. it makes me think of how people stay in abusive relationships because they can't financially support themselves or because it's all they know, because it's safer than doing what you truly love, and they can't afford to be unsafe. it's bad for her, and she hates it, but she needs to survive so bad that she can't say no.

[alllowercaseandnospaces]

My favorite part of Hadestown is you come for the pretty music and the love story and then you get beat on the head repeatedly by the reminder that the rich use and exploit our bodies for their own gain and we'll never be free until we join together and rise up against them

[butchbutera]

Everyone loves a cycle aware Orpheus but what about a cycle aware Eurydice? Eurydice who tries her hardest to resist the hunger and the cold. Tries to convince Orpheus to just LOOK UP time and time again to no avail. Eurydice who KNOWS and still fails. She knows he’s gonna turn around. She knows they’re not gonna make it out of hell together. But she hopes. Every time she hopes that he loves her a little bit less than the last time. Hopes he won’t look back. But of course, Orpheus is still Orpheus. And he loves her more than anything.