HADESTOWN Previews — Page 11

sm33 said: "
I strongly agree with the suggestion mentioned previously to end Act I with “Wait for Me” and open Act II with “Why We Build the Wall” - it just seems like the logical choice.The loudest applause of the night was after “Wait for Me”, and it would have been good to go to intermission with that energy, andAct II could use a big number at the start."

They tried it but it didn't work Patrick Page tweet

WOO! FINALLY got a ticket to this. Walked up to the BO and asked for any seats left and she offered me a box seat for $99. its stamped as partial view- does anyone know how obstructed it is?



thanks!

magictodo123 said: "Question about seating for those who have seen it: I’ve heard to avoid the balcony (and I think those seats are pretty much sold out anyway?) so would you recommend the right mezzanine or back of the orchestra? There’s a seat I’m looking at but I’m relatively short and I don’t want to miss anything."

The Kerr is so small that I think you'd be fine with either, but the rake in the mezzanine is steep enough that your view shouldn't be obstructed.

About to head out toward the theater now. Really looking forward to this!

Thanks BJames and Jazz! :)

I just got back from the matinee and wow is this show good! From the first moments the cast comes out the audience was ready. Lot’s of applause during the intros. Some audience members gave “Wait for Me” a standing O, not many, but there was long extended applause after that scene.

I’m not going to go into everything, but this is the best show I’ve seen this year and I’ve been to most of them. There was an audience member crying during bows in the front row and Andre pulls out a tissue and passed it to her. The cast during the bows just looked around at everyone as there was a very long standing ovation before the curtain call. A great afternoon and I hope I can get back to see it again after it officially opens, but glad I was able to see it now.

Any updated rush reports, thinking of trying next weekend.

All bow down to Rachel Chavkin and Anaïs Mitchell! Not only is Hadestown the best new musical of the season that I’ve seen so far, but it’s also one of the best musicals I have seen on Broadway in quite some time. This ranks up there with Hamilton and The Great Comet. The last time I remember the energy in a theatre being this palpable both onstage and in the audience was when I saw the OBC of Hamilton shortly after the 2016 Tony Awards.

After seeing what Rachel Chavkin did with The Great Comet, I thought she had reached the peak of her career as a director. I didn’t think it was humanly possible for her to match that level of brilliance again. Well, she most certainly proved me wrong! The staging is brilliant with all the design elements meshing together perfectly. The turntables, elevator, and even certain lighting elements are integrated into the movement and choreography.

I have been a fan of Reeve Carney and his unique voice since Spider-Man, and I have loved Eva Noblezada since the Miss Saigon revival. They are both great as Orpheus and Eurydice. Amber Gray is incredible, and I really hope she wins the Tony for her performance in this. Patrick Page and Andre de Shields both have commanding stage presences that work great for their characters.

As I mentioned earlier, the design elements are stellar. The lighting is gorgeous. Subtle, dark, and subdued at times and then overwhelming, bright, and in your face at other times. The sound design is impeccable. I was able to make out every lyric and every instrument in the orchestra.

Anaïs Mitchell’s score is a gold mine of glorious songs. I truly loved every single song. I had listened to concept album a couple times before seeing this, and l liked it quite a lot. That being said, seeing the score performed live in the context of the show added a whole new level to my enjoyment and appreciation of this ingenious score.

After a really slow start to this season, it’s been refreshing to finally see some really exciting new shows hit the boards, and Hadestown is probably one of the most exciting ones in my book. It’s haunting, original, thrilling, and energetic beyond belief. I would recommend getting tickets for this now while you still can. Once word of mouth kicks in and the Tonys hit, this is going to be an extremely hot ticket.

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Does anyone know what the actors' schedules are? I'm looking to buy tickets and want to see if I can go on a night that Eva is scheduled to be on. Thanks!

I’ve been thinking. I saw the 3/28 preview performance (review to come shortly)

I noticed T. Oliver Reid covers both Hermès and Hades. Hermès is a tenor in the show, hitting notes in full belt. My question is, if he is singing tenor, how could he ever sing the songs of Hades. Hades is a true base, hitting as low as an low f.

Maybe, since Patrick Page is the only one who could actually hit that low notes. The two covers for Hades do both sing bass notes, but i don’t think they could sing every song of the show in the bass. Maybe an octave higher.

While I was sitting and watching, I thought that the voice is made Hades so menacing and sexy that i don’t know if i would view him in the same light and think the same with someone not hitting those notes in the show. But then again they could act in a way that would bring the same aura. Or a new interpretation of Hades.

So interesting, i love it.

Intermission and...

Hermès feathers caught on fire from the candle Eurydice lit LOL One of the fates had to put him out.

The walls separating and the swinging lights were so cool.

The cast is phenomenal- especially Hermès... but reeve carney is coming across kinda creepy. Would have much preferred Damon in the role. Also amber grey is kinda... meh? Idk let’s see what act 2 holds

The orchestra seemed completely sold out except for 2 seats on Wednesday evening. Not sure what the mezzanine or balcony looked like