mirta

multifandom

[lakemojave]

[linktoo-doodles]

Hadestown

[technicallyaflower]

Working on a Song: The Lyrics of HADESTOWN, Anaïs Mitchell

[snekysonjr]

Waiters as waiters, literally

[stickthisbig]

If you are interested in disability and theater or creative accomodations in general, I urge you to watch the Hadestown proshot

Not only is it perhaps the best proshot ever made, constructed with the visual language of a concert film in a way that perfectly suits the material, it was filmed while Patrick Page was recovering from an injury that necessitated putting him in a walking boot.

What they've done with it is so perfect for the character that, if you hadn't been told that it was a medical device, it would look like the costume had always had this sick-ass mech boot. I'm not familiar with the exact kind of boot, because it's not shaped like the ones that I've had to use before (having seriously injured the same leg three separate times). Whatever it is forces his heel not to contact the floor, and they've compensated somewhat with a very high heeled dress boot on the other leg.

As you can imagine, because knees exist, it forces him forward, making him move in almost a goat-like way, and it is sheer perfection. The boot is done up with a bunch of sparkly tubes and bullshit that absolutely nail the aesthetic, and it gives him a weird spindly kind of movement that is so incredibly on point for the character. It only underlines his alienation from everyone else, and were it not for the documented history of actors injuring themselves by portraying a disability, looking at you Dear Evan Hansen and basically every production of Richard III, I would say that we should put every Hades in a sick-ass mech boot

This is not the first time that Hadestown West End had injured or disabled cast members, and the way they handled it here it was masterful and really underlines that you can make accommodations and enhance the work

And also goddamn Patrick Page is a hoss, do you know how heavy those motherfuckers are, because I fucking do

[alona-draws]

Link to Orpheus version

Tumblr made the gif so weirdly blurry and somehow improved it?? Wild times

Anyways I’ve seen the pro shot twice and I’m still foaming at the mouth about it

[snekysonjr]

[orpheuslament]

cause heres the thing to know how it ends & still begin to sing it again as if it might turn out this time

[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.

[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

[lestatslestits]

The descent into the devastating and inescapable logic of “Why We Build the Wall” throughout the song will never not haunt me.

Why do we build the wall? We build the wall to keep us free. How does the wall keep us free? The wall keeps out the enemy. What do we call the enemy? The enemy is poverty. What do we have that they should want? We have a wall to work upon.

Like the show itself, the logic of the wall is cyclical, so it’s inescapable. The wall is literal. The wall is figurative. We create the wall ourselves when we value profit over life. And at the end of the day, after all that work, and all of that time spent disparaging the “have nots,” the only thing you have left is the very wall you are building, separating you from your fellow man.

[middleallie]

And brother, thus begins the tale of Orpheus and Eurydice! every principal orpheus and eurydice on broadway, 2019-2025

[snekysonjr]

Hehe

[allthefights]

[morionette413]

in 30 years there's going to be a production of hadestown with eva noblezada as persephone and reeve carney as hades. and it's going to go the hardest anything has ever gone

[gorgynei]

the thing about orpheus is that he doesn't turn because he loves eurydice. he turns because paradoxically he is afraid to lose her. hes turned many times and found people have disappeared when he wasn't looking (his mother, persephone in act 1, eurydice in act 1). he loves eurydice, but by act 2 he's seen the way the world is. he has to turn. one last look is better than never seeing her again. hadestown isn't about death, its about self destruction and how grief paints your actions in the present.

[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.

[just-a-lidle-creacher]

you don’t understand how important this analysis is to me. god especially the way persephone looks at her, so fucking terrified. how many times as she said no to him? how many times has he threatened to do this? how many time has he actually done it? how many women has he taken under just to get her attention, her guilt? how many times has she said yes just to make him stop? dude man im not well