Shout out to the 3 women who play The Fates. I felt myself craving for them to come back each time they left the stage. Their mannerisms, facial expressions, and movements were creepy and exotic at the same time.
SporkGoddess said: "I was wondering how much someone might like the show if they get really annoyed with all of the portrayals of Hades as the villain in many modern adaptations of Greek myths. I listened to the cast recording and really liked it, but that's always been an issue for me. It's one of the reasons I can barely watch Disney's Hercules."
Hades is undoubtedly the antagonist, but he’s not really a “villain.” It’s a sympathetic depiction.
The closest thing to a villain in the musical would be the Fates, who drive the characters to make choices that lead to the tragic conclusion.
"...everyone finally shut up, and the audience could enjoy the beginning of the Anatevka Pogram in peace."
From the clips they’ve released, it looks like it has grown and changed a LOT since NYTW, where I adored it in its intimacy. That being said, I’m excited to see it. Even at NYTW Orpheus felt like the weakest link of a character and i had a hard time connecting with him.
A0326T said: "With all the raves and why no Olivier noms? (Just curious)."
I've noticed even in the U.S. that the Tony awards will frequently snub worthy shows that were short/limited runs and are no longer playing by the time of the awards ceremony. I don't know if this is the reason, but it would make sense. Or a more positive way to put it is that they try to lift shows (by providing award nominations and wins) that will actually benefit from the extra exposure. If a show is no longer running, then better to lift a show that is continuing forward with an open ended run.
Further, it felt very much like this was a try-out in London before opening on Broadway, rather than a London show that had a successful run there and then had a second life in a transfer to NY (e.g., the revival of Company).
I think it’s also important to note that the competition for the Oliver’s is tough, with shows like Fun Home and Come From Away leading the pack. However I do mostly think it was because London was clearly a tryout or practice run for the more important broadway run.
Thank you. 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. Or a musical Six which is London based as opposed to Hadestown which is an off Broadway show.
BalconyClub said: "Confession: I have been mispronouncing this show for the last month. It's HADESTOWN with 3 syllables, not HADESTOWN with just 2 syllables."
Saw this in London where it was enjoyable, but never mind-blowing, the London press seems to have agreed with me, where the reviews got across the board 4 Stars.
BalconyClub said: "Confession: I have been mispronouncing this show for the last month. It's HADESTOWN with 3 syllables, not HADESTOWN with just 2 syllables."
Rogerdellibovi said: "Wait how would you even say this as 2 syllables?"
When I read the title for the first time, not knowing the plot, I read it as HAYds-town. Later, I learned the plot, which should make it obvious is it HAY-dees-town. And yet, my brain is stuck on my first impression, and I keep having to correct myself.
Seating question for those who have seen it - how bad does the first row look? Row C is the first row available, and pricing is lower, no doubt due to being TOO close. But sometimes I enjoy this - as a shortie, it's still better odds that I can see than virtually any other Orchestra seat someone might sit in front of me. But sometimes the stage is too high, and first row really is the worst. Other times, the stage is low and first row is a total experience.
The staging clearly has changed from Springsteen, where C wasn't front row, so I can't trust viewfrommyseat. Any feedback?
"Seating question for those who have seen it - how bad does the first row look? Row C is the first row available, and pricing is lower, no doubt due to being TOO close. But sometimes I enjoy this - as a shortie, it's still better odds that I can see than virtually any other Orchestra seat someone might sit in front of me. But sometimes the stage is too high, and first row really is the worst. Other times, the stage is low and first row is a total experience.
The staging clearly has changed from Springsteen, where C wasn't front row, so I can't trust viewfrommyseat. Any feedback?"
Hello friend! I saw the production in London and been in the Kerr several times. After speaking to the Box Office Staff and judging by photos, i'd hold off on the first few rows. There is a bit of stuff that is better if seen further back (which I won't mention because spoilers). I personally enjoy the mezzanine or balcony for this theatre as there really aren't any bad seats in the Kerr as you will be able to see everything. Hope this helps you out.
Is the running time really about 2:30? I’m trying to decide if I can fit this and Fiddler on a Sunday, with shows at 3 and 6. Looks like those theaters are about a 15 minute walk apart.
BalconyClub said: "Confession: I have been mispronouncing this show for the last month. It's HADESTOWN with 3 syllables, not HADESTOWN with just 2 syllables."
Don’t fell too bad, I’ve asked over a dozen people at work how to pronounce it, every single one of them got it wrong:
HADE’s Town with a silent e like HATE instead of a “long” E, not like HADEEZ with the s on the end.
I honestly can't remember the last time I was so excited to see a show... and these early comments only have me more excited. I tried so hard to only listen to a little bit of the recording, just enough to see if I (and my much pickier parents) would like it, but have had the thing on repeat – alternating with the original concept album – for a few months now. Man is that a great score.
Also, I'm fascinated by this mispronunciation conversation, haha. Is it that people hadn't heard of Hades? Or just didn't know that this show was based on Greek mythology? (Laughing with you not at you, but man.)