HADESTOWN Previews

[j.garcia]

I absolutely loved Amber Grey’s performance. Did it feel like a retread of some of her Great Comet work? Yes. But when it’s that good, I can’t think of a reason to care. I thought “Our Lady of the Underground” dragged a bit, however Amber had the energy to carry it and keep the party going. She brings just the right amount of sadness for this broken, hedonistic party girl, and even during her wilder moments there’s always this underlying hurt. I’m really sad that she doesn’t stage door as I think she was my favorite performance  and I would love to get her to sign my Playbill. 

[Impossible2]

Kad said: "I mean, I would assume most people would at least have familiarity with Greek myths through cultural osmosis.Orpheus and Eurydice is a story that gets told and re-told in western cultures- and there are countless other similar stories in other cultures, as well."

I guess it depends where you were educated. I'm Australian and I don't ever remember being taught any Greek mythology and if I was it would've been in primary school which I am not going to remember 40 years later.

My other half however is American and he was taught it in school.

[Impossible2]

WhizzerMarvin said: "I would have thought the same thing too, Kad. I assumed people knew Orpheus just like I assume people know Medusa turns people to stone, Midas has a golden touch and Medea murders her children. Greek/Roman mythology is the basis for so many stories in Western culture, from the opera house to Xena Warrior Princess (and I know that show is syndicated around the world! Ha).

But maybe these things aren’t as widespread as I thought."

I've never been to the opera (going for the first time next week) nor have I ever (thankfully) ever watched Xena x

We also were never taught any Shakespeare at school in Australia either.

Maybe he was studied in drama or advanced English classes?

[A0326T]

Edith Hamilton's Mythology was for me a required high school read. So thankful as I learned enough from that book alone all the great stories.

And this Orpheus story on stage is what I crave. I hope that this is a start of producers taking aim at classical works and making it fresh and new for us.

I love Broadway and I prefer this kind of shows over jukebox musicals or movie adaptations.

[A0326T]

Gluck's Orfee et Eurdice and Offenbach's Orpheus in the Underworld are two opera that is worth listening as well. And the basis of inspiration to this Hadestown that I am so looking forward in seeing this summer. How I love musicas based on classical works ....

I am aware that Hadestown is folksy bluesy and new Orleans style... that is even more exciting...

[CoffeeBreak]

It'll fight it out with TOOTSIE - with strong word of mouth.   My wife liked THE PROM and AIN'T TOO PROUD as much as HADESTOWN.

[raddersons]

CoffeeBreak said: "The silly attempt to parallel overdonemodern politics (eye roll) ..."

If you're referring to "The Wall"... the original concept album (including the song Why We Build The Wall) for this show came out in 2010. It was not an intentional reference to modern politics.

[treblemakerz]

j.garcia said: "I absolutely loved Amber Grey’s performance. Did it feel like a retread of some of her Great Comet work? Yes. But when it’s that good, I can’t think of a reason to care. I thought “Our Lady of the Underground” dragged a bit, however Amber had the energy to carry it and keep the party going. She brings just the right amount of sadness forthis broken, hedonistic party girl, and even during her wilder moments there’s always this underlying hurt.I’m really sad that she doesn’t stage door as I think she was my favorite performance and I would love to get her to sign my Playbill."

She came out to sign after first preview and was incredibly lovely. From what I heard of London, it's not impossible to catch her at stage door--just very, very rare.

[Lenexajones]

I'm 62 and have post-doctorate degree and will have to admit I did not know the story of Orpheus and Eurydice...  I had to look it up online while listening to the live recording.  Can't wait to see this production in May!

[CoffeeBreak]

I wish Gray was nominated Lead.  All 4 performers bow together.  Also nominated - The Fates.  Supporting.  Enjoyed their performances second to Gray and Page.

The Olivier Awards did it this year for Lehman Trilogy men (lead).

[treblemakerz]

CoffeeBreak said: "I wish Gray was nominated Lead. All 4 performers bowtogether. Also nominated - The Fates. Supporting. Enjoyed their performances second to Gray and Page.

The Olivier Awards did it this year for Lehman Trilogy men (lead)."

I honestly hope Amber DOESN'T go into lead; that would put her against SJB who I believe is a lock to win this year. If she's in supporting, I think her biggest competition would be Ali Stroker.

Edit: In regards to your other comment, the Oliviers also did it this year for the queens of Six! Has it been done at the Tonys since Billy Elliot? I can't recall.

[Impossible2]

"the Oliviers also did it this year for the queens of Six! "

I can't wait for them to whoop Lupone, that'd be the face crack of the century x

[treblemakerz]

Impossible2 said: ""the Oliviers also did it this year for the queens of Six! "

I can't wait for them to whoop Lupone, that'd be the face crack of the centuryx"

Could you imagine? What an upset!

[Mister Matt]

So the Olivier award show is not an indicator of how good is a show but other factors surrounding it like tryout run or shows that are proven to be a hit elsewhere (like Come From Away) or proven show like Fun Home.

If that were true, then Groundhog Day would not have won the Olivier for Best Musical before it opened on Broadway.  It's just how the votes for nominations and awards play out by those who cast them.  It's only indicative of "good" based on your own standards and opinions and how they line up with the recipients of the awards (I didn't think The Producers, Spring Awakening or Kinky Boots were deserving of "Best Musical", but I agree with many other decisions).    

Has it been done at the Tonys since Billy Elliot?

The Matildas received a special Tony Honor for Excellence in Theatre rather than one in an established category.

[Daddy Warbucks]

Lenexajones said: "I'm 62 and have post-doctorate degree and will have to admit I did not know the story ofOrpheus and Eurydice... I had to look it up online while listening to the live recording. Can't wait to see this production in May!"

I'm embarrassed to admit it but I'm in the same situation.  I'm old and may have had a subpar education as a youth.  Perhaps that's where things went wrong.  But I have since attended one of the most prestigious universities in the U.S. plus post-graduate degree, and I wasn't familiar with the ending.  

This is as much as I knew prior to seeing Hadestown at the National:  Orpheus had a lute, which I probably learned from the lyrics of a high school choral song.  And just about everything I knew about Hades I learned from James Woods' portrayal in the cartoon musical Hercules.  

[Dani0995]

raddersons said: "CoffeeBreak said: "The silly attempt to parallel overdonemodern politics (eye roll) ..."

If you're referring to "The Wall"... the original concept album (including the song Why We Build The Wall) for this show came out in 2010. It was not an intentional reference to modern politics."

I have a feeling most of the Hadestown reviews will compare Hades to Trump lol 

[SporkGoddess]

That actually reminds me of something else I've been wondering about this show: Hades and Persephone are just, like, normal people right? They aren't gods like in the mythology? I get a little confused because they keep referring to Persephone as "Spring" in the lyrics.

[treblemakerz]

SporkGoddess said: "That actually reminds me of something else I've been wondering about this show: Hades and Persephone are just, like, normal people right? They aren't gods like in the mythology? I get a little confused because they keep referring to Persephone as "Spring" in the lyrics."

No, they are actually gods like in the myth!

[Call_me_jorge]

Intermission at tonight’s performance and it’s thrilling! Maybe it’s just that they are more recent in my memory, but the last two number of act 1 are by far my favorite so far. Those lights that flew over the audience and when the set split in three were both goosebumps enducing. I think they can still work on a few moments when it comes audience reaction. The one moment that jumps out in my mind is persophone’s “entrance.” I feel like they’re trying to give Amber an entrance applause moment, but not enough people clapped. I was like one of maybe 2 people around me who reacted to her. Perhaps it’s just this performance I’m at. Instead of stopping for a few beats they should go right into the song.

[A0326T]

SporkGoddess said: "That actually reminds me of something else I've been wondering about this show: Hades and Persephone are just, like, normal people right? They aren't gods like in the mythology? I get a little confused because they keep referring to Persephone as "Spring" in the lyrics."

Persephone spends six months underground with Hades and six months with her mother Demeter. Hades abducted Persophone from her mother and made her queen of the Undweworld.

The gods decided that when Persophome with her mother it will be spring and summer and Demeter welcomed her with spring and summer flowers.  And when she is in the Underworld, Demeter cursed the earth.... fall to winter.

[A0326T]

Demeter is the goddess of agriculture. Hades god of the Underworld. Hades is always jealous of his brothers esp Zeus (the god of them all) and also of Neptune (Poseidon) and Vulcan.

When Persephone was given a persimmon she swallowed six seeds and that determined 6 months on earth and 6 months Underworld.

[A0326T]

Now that Persophone here on earth the earth will welcome her with daffodils and tulips and the earth will be warm. And when time she will be with Hades .... everything will die and cold and snow will reign.

[A0326T]

Demeter and Persophone are very close and Persophpne in the end learned to adjust as the queen of the Underworld

I cannot wait to see Hadestown. I am glad from what I've read here that it is mostly about Hades and Persophone.

[Lenexajones]

Patrick should wear a Trump wig one performance!

 

[oncemorewithfeeling2]

Call_me_jorge said: "the last two number of act 1 are by far my favorite so far.

Wait for Me and Why We Build the Walk have been my two favorite numbers from the show since I first saw the NYTW performance.

I saw the Wednesday matinee and I’ve been wrestling with the show—in a good way—since then. I think this is a really special show that has some lightning in a bottle moments of perfection. It’s making me think and wish I was closer to New York because I want my students to see this when they ask me why we study classic literature or why industrialization comes with a cost or how fiction from eons ago can parallels our world.   

The last time I felt this way was when I saw Hamilton off Broadway. The difference here is that I can some of weaknesses in the piece much earlier on then I did in Hamilton. The second act drags compared to the first. The songs, with the exception of the reprises, aren’t as memorable and as others have said, I feel like the parting between Orpheus and Eurydice falls a little flat. I don’t think we need either of them screaming or in histrionics, but it felt like it just warranted a little more.

I felt Eva Noblezada was in fine, fine voice, but I either wanted her to dig deeper into Eurydice or I need to accept that perhaps it’s not a very deep, fleshed our role. Personal opinion here. I enjoyed her performance though, more then Nabiyah Be’s. 

Orpheus as a character puzzles me. I agree with some of the statements that it now borders on him being “touched” in some way. Why did Eurydice fall for him? I don’t his songs were so amazing that at first listen, it’s a road to bliss. I’m happy to report that a Reeve Carney sounds better then he did in Spiderman, but his really high notes are still shrill and I flinched on one. I will say his “Wait for Me” is a stunning showstopper. That song and performance are lingering in the best way possible.

I have so much good to say, but I have to start with the set and lighting. The set and it’s use of turntables and elevators helps to tell the story, but the lighting is fabulous here. Bradley King was impressive with his lighting design with The Great Comet and doesn’t disappoint here! The lights, at points, are almost elements of David Neumann’s choreography. There’s a few clips of Wait for Me online that show the lighting and choreography come together and it’s impressive. Neumann’s choreography isn’t as flashy as some, but it’s purposeful and he makes very creative choices of how to incorporate props, parts of the, and how to use the use human form in his movement. It reminds of Steven Hoggett circa American Idiot.

I’m currently worshipping at the church of Patrick Page. I’ve loved him in this role for nearly 3 years and I have a hard time envisioning anyone else as Hades. I can’t imagine this to be the easiest role either and after reading his stories of living and working with severe depression last summer, I relate to him so strongly. With the exception of Beetlejuice, which I’m seeing tomorrow, I’ve seen all the musical contenders this season.   I really and truly believe he is the one to beat for the Tony. It still shocks me that the nomination, which he will now doubt get, will be his first.

Amber Grey’s Persephone is the life of the party and she’s doing it for survival. Self preservation. You know she feels trapped, but really has no one to turn to. She moves and sings like role was written for her. Someone posted (in the thread maybe?) that role was a continuation of Hélène from The Great Comet. I don’t agree because Persephone shows more regret and despair then Hélène ever would. Grey isn’t playing them the same either; Persephone definitely has more vulnerability to her. The way she sounds? That’s how Amber Grey sings.

Initially I was unsure of André De Shields as Hermes, but it works and I have hella respect for anyone moving that way at 73. My 30something body is jealous.

Final shout out to the Fates and the ensemble. The three Fates—Jewelle, Kay, and Yvonne—blended so well together and all had their moments. The ensemble does some amazing things.

The show is on extremely solid ground right now. It’s pretty damn great as it is. I think with the final 3 weeks of previews, it’s only going to get better. I really liked Tootsie in Chicago, but the two shows are apples and oranges. I see a lot coming down to these two shoes.