HADESTOWN Previews — Page 10

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.

Wow, there’s a lot to unpack here. What a transcendent event this is.

Having seen it at NYTW, it’s hard to even compare - it truly is two different shows. For both better, and at times, worse. NYTW was an intimate evening of storytelling, where we all gathered under a tree to watch a few actors more or less perform the concept album. But now, on Broadway, this is a Musical.

The entire narrative structure has been updated, and from the sounds of it, every line of music has been touched, too. This is to mostly great effect, to clarify events, flesh out characters, and add in the ensemble. What’s loss is most of the original lyrics from the verses of songs, which is a bit jarring having listened to the Cast Recording for 2 years now. But ultimately I think it enhanced the show.

I could take or leave the set - I don’t think a New Orleans bar was their only choice to make it work on a larger scale, but I think they do all that they can with it. I personally LOVED the revolves, and the addition of the dance ensemble felt natural. The lighting was gorgeous, and the sound superb.

The entire cast is working at the top of their game. The only weak link is Reeve when he’s singing - it reminded me of Nikki M James in Les MIs. He’s very talented, and performs well, but his voice is just simply wrong for this role.

When it comes to awards season, I imagine it will get a slew of nominations, but I think the only ones it truly has in the bag are Best Musical and Best Score. Rachel Chavkin should have won Directing for Comet, and I'm wondering the odds of her pulling out here, vs. Daniel Fish. Perhaps Patrick will win as he’s such an beloved member of the community, but I can see it going either way. At the end of the day though, much like Fun Home, this musical is truly changing the game as to what is commercially possible. It is unique as hell, touching, and enthralling.

I’ll end with - I have not experienced an audience react to a show the way they did last night in a very long time. It was a roar of applause that felt so genuine, it was as if we were all connected in that space. It was really, really special.

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.

Yes, I know. I'm a huge Greek mythology nerd. I was just wondering if Hades and Persephone are gods in this version like they are in the myth. I thought that they might be because they kept referring to Persephone as "spring" and apparently I was right.

I think that's kind of a strange decision, tbh, but I probably shouldn't say anything until I've seen the show staged. I'm just wondering now why they made it a corporate dystopia instead of keeping the original under world setting (maybe because Hades didn't actually want the rule the underworld in the myths, so this particular version of the story wouldn't work?)

VotePeron said: "I’ll end with - I have not experienced an audience react to a show the way they did last night in a very long time. It was a roar of applause that felt so genuine, it was as if we were all connected in that space. It was really, really special."

I saw the show Wednesday and the result was the same. I've never experienced a curtain call like it where the audience was so genuinely vocal and excited to thank the cast and orchestra. The cast, especially the chorus who are new to the show, seemed so genuinely overwhelmed and grateful. Truly something special.

VotePeron said: "I’ll end with - I have not experienced an audience react to a show the way they did last night in a very long time. It was a roar of applause that felt so genuine, it was as if we were all connected in that space. It was really, really special."

It was the exact same the night I went, too - I don't think I'd ever seen a show with an audience as excited.

VotePeron said: “
I’ll end with - I have not experienced an audience react to a show the way they did last night in a very long time. It was a roar of applause that felt so genuine, it was as if we were all connected in that space. It was really, really special."

This. this. this.

During the curtain call I was just so fixated on Amber, and even though I was up in the balcony I could still tell how moved she was.

Is post curtain call song apart of the show or just something they did last night? That was so moving. I loved this show so much I’m already planning a return visit before the years out just to see it again.

VotePeron said: "The only weak link is Reeve when he’s singing - it reminded me of Nikki M James in Les MIs."

Ouch!

This. this. this.

During the curtain call I was just so fixated on Amber, and even though I was up in the balcony I could still tell how moved she was.

Is post curtain call song apart of the show or just something they did last night? That was so moving. I loved this show so much I’m already planning a return visit before the years out just to see it again.

"

From my seat on Wednesday, I could clearly see tears falling from Amber during curtain call. It was so incredibly moving.

And yes, Raise Our Cups is a part of the show; it's the last song listed in the playbill. I love it as well; ending the show with a toast to the Orpheus' of the world really plants a seed in your head as you leave.

So I thought Raise Our Cups was a part of the show but on Tuesday they didn’t do it but on Saturday they did. Don’t know if there was a reason it was omitted."

Huh, how odd! They did it when I was there last Friday and again when I went on Wednesday.

I'll be attending (yet again) tonight, so we'll see what happens this time.

Call_me_jorge said: "VotePeron said: “
I’ll end with - I have not experienced an audience react to a show the way they did last night in a very long time. It was a roar of applause that felt so genuine, it was as if we were all connected in that space. It was really, really special."

This. this. this.

During the curtain call I was just so fixated on Amber, and even though I was up in the balcony I could still tell how moved she was.

Is post curtain call song apart of the show or just something they did last night? That was so moving. I loved this show so much I’m already planning a return visit before the years out just to see it again.

"



IWe know you were fixated on Amber and good for you but Jorge we didn't hear your report after the show...How was the balcony seating for you at 6'2? So?

treblemakerz said: "I must say, after tonight, I have full faith that this entire cast and creative team is doing the most to make this show the absolute best it can be.

Most of the changes tonight were small, but impactful. Mainly little lyric/music alterations. But what struck me was in one instance, a single word was changed in a lyric and it made it hit so much harder. The fact that something so tiny is something that occurred to the team to play with makes me feel that they are so, so dedicated (not that I didn't already think so, but I digress).

I ended up chatting with Reeve a bit after, and he seemed genuinely interested in probing me for what I thought about each change and what I had noticed was different. I was excited to see that HE was so excited about trying out new stuff!

"

that's so great to hear! do you mind sharing what the lyric change was?

bettyco said: "that's so great to hear! do you mind sharing what the lyric change was?"

Yes, of course! Spoilers under the cut.