It's not even begun yet, and I'm already jumping to replacements - but, since she's back on the boards, I think Shoshana Bean would be a perfect Persephone - wishful casting!
PattyO'Furniture said: "It's not even begun yet, and I'm already jumping to replacements - but, since she's back on the boards, I think Shoshana Bean would be a perfect Persephone - wishful casting!"
Good idea. Amber didnt cut any mustard. Just one of many deficits.
Finally saw Hadestown tonight, wow! First of all, 8pm show had the black umbrella.
Now to the show - definitely the best show I’ve seen this season - not even close. The singing is hauntingly beautiful, the staging is extremely effective, and the acting superb. I could listen to Eva’s voice all night.
PattyO'Furniture said: "It's not even begun yet, and I'm already jumping to replacements - but, since she's back on the boards, I think Shoshana Bean would be a perfect Persephone - wishful casting!"
Well, now I’m going to be disappointed when this inevitably doesn’t happen. She would be perfect. (Although I loved Amber Gray)
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PattyO'Furniture said: "It's not even begun yet, and I'm already jumping to replacements - but, since she's back on the boards, I think Shoshana Bean would be a perfect Persephone - wishful casting!"
Wow, what a show! Incredible. I saw it last night, otherwise known as the "black umbrella" performance. ;_)
I loved Hadestown at New York Theater Workshop and didn't intend to see it again. A friend, however, has fallen in love with this production, and she persuaded me to go. I'm so glad she did, because it is indeed quite different from the downtown version. Rachel Chavkin did a marvelous job adapting it to the larger stage, and having the elevator was a great idea, considering where Hades is located. The turntable, however, is a bit overused. It's like having a new toy at Christmas. I got a bit tired of watching the actors spin around. But of course that's just a minor detail, and the scenes set in Hades were so striking.
All the elements come together to enhance the storytelling: sets, direction, scenery, lighting, music, performances. Plus, this is one of my top favorite scores from the past five years. It's so inventive, and played so well by a New Orleans style band. This score would stand out in any season, but particularly so now, with Beetlejuice, King Kong and Tootsie providing the "competition."
macnyc said: "... The turntable, however, is a bit overused. It's like having a new toy at Christmas. I got a bit tired of watching the actors spin around. But of course that's just a minor detail, and the scenes set in Hades were so striking."
Would love to hear some more specifics about why the turntable feels overused for a lot of people - as someone who sees so many shows, I find it truly thrilling that we're able to see something staged in such a unique and refreshing way. When I saw it on Broadway for a second time last week, I specifically paid attention to how much it turned, and it still didn't bother me in the slightest. I think it's so cool that it's staged in this way, and I could watch it spin forever. Were there specific moments where you wished it wasn't spinning?
I would say that the scenes set in Hades with the workers seemed to rely on too much spinning. But now I realize that those scenes are meant to convey a sense of drudgery, that the workers are doing the same thing over and over again. So I take back my comment. I see that all the spinning served the story! And I loved the workers' costumes also.
I think it depends where you sit as far as the spinning being an annoyance or not.
When I saw it from the mezzanine it nearly drove me insane, but seeing it from the orchestra it didn't worry me, or maybe I was just ready for it so it didn't annoy me as much.
I didn't mind the spinning at all, and there was really only one scene (Chant II) where I really noticed it being too overt, but I was dead center on row N, eye-level with the stage, so that may have been a factor. Seeing it from above would probably be a different experience.
I'd like to personally thank each and every one of you wonderful individuals for taking my simple umbrella/parasol question and making it one of the funniest series of posts I've ever had the pleasure of reading. I've had a rough few weeks, and it truly brought a smile to my face. Keep the jokes going! XD
My mom got my daughter, having recently become interested in Greek mythology, tickets to see the show for her birthday. Do you think we should listen to the live recording first or should she go in knowing nothing?
Personally, I went in knowing nothing and am now addicted to the score, it is so beautiful. They have made some changes vs. currently available recordings so that would be my recco so you can focus on the show’s current version if you’re set to go soon.
dotseurat2 said: "My mom got my daughter, having recently become interested in Greek mythology, tickets to see the show for her birthday. Do you think we should listen to the live recording first or should she go in knowing nothing?"
I went into the show not knowing the story or the music, but the music has grown on me since, as I've been listening to the older recordings. While I wish shows would stand alone on first watch, I'm now wondering if I would like it better now that I know the music? So my recommendation would be listen to it first :)
Since opening is tomorrow. And all/most of the critics have seen it, it IS frozen. Probably has been for at least a week.
Bedazzled?! I want a bedazzled umbrella tonight. (CANNOT WAIT!!!)
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