HADESTOWN Previews — Page 6

themysteriousgrowl said: "

I sat front mezz at first preview and had no trouble understanding De Shields. He was fed a line at one point by an orchestra member, but if you're unfamiliar with the show, as I was, it was hardly noticeable. His was my favorite performance of the show."

How was it at mezzanine? I have C 2 n 4. I so looking forward to this.

Still no word from Whizzer? Did I miss it? (I scanned for it, albeit quickly)



So unusual not to have heard from him on a show!

Although it has a devoted fanbase already, the critical reaction to the piece has been fairly muted, hasn't it? Even at NYTW.

Hopefully this link works, it’s a pic of the merch card. I’m gonna need a window card, so I guess I’ll have to plan a return trip.



I was sitting far orchestra right, row P one in from the end. I could hear everything perfectly and see almost everything except for the left of the balcony where Hades was sitting during the opening song. On the plus, my far left seat gave me a great view of Patrick Page during Epic II, and his emoting was sublime. I’m a little surprised about the Hermes hate, I thought he did a great job. He was a little lower energy than the other leads, but it read to me more cool and collected. The changes I noticed lyrically added to the richness of the story and lyrics.

Updated On: 3/26/19 at 02:48 PM

j.garcia said: "

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I agree. That part should be tweaked a little to make it more dramatic.

Has anyone stagedoored here? Who all came out?

orlikethecolorpurple said: "Just curious, before I read it, does the spoiler have to do with the actual story of orpheus and eurydice? Or specific to the production?"

It's a bit of both, but mostly to do with how the production handles the ending

Rogerdellibovi said: "Has anyone stagedoored here? Who all came out?"

At the second preview, everyone but Amber came out. Andre was last and it took about an hour for him to come out, but he was very kind and signed and took pics with everyone.

That was a busy stage door! At one spot the guard was saying it was 7 people deep.

Have they changed the setup to accommodate the crowd, or do they still have the barriers forming a tiny square space around the door that people are mobbing? That's how it was on Friday and I can't fathom why they thought that was a good idea instead of using the barriers to form a sort of line like they do at many other shows. The NYPD officer who came by agreed. It was a hazard.

Updated On: 3/26/19 at 10:56 PM

YvanEhtNioj said: "On Saturday, the show ended around 10:30 and it was unbelievably packed. I could barely movr around the crowd. I went to my friend's apartment next to the Kerr and when I came out around 11:30, itwas still JUST as crowded. A woman told me "2 people haven't came out yet" and everyone was waiting. Not sure which 2"

We were waiting for Amber and André. Andre came out close to midnight (the marquee light actually went out while he was signing) but Amber didn’t come out.

leighmiserables said: "Impossible2 said: "j.garcia said: "

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I don't understand why they changed this. The first time I saw it in London the way they did it was amazing. The entire audience gasped in shock and there was a huge reaction.

When I saw it the 2nd and 3rd time they had changed it and got no reaction what so ever.

I don't know why the hell they changed it!"

How'd they originally have it staged, just out of curiosity?"

Piggybacking on the seating question - I know front row balcony is probably OK but what do you think about row B? I need to pick up 3 tickets for a date in May and haven't had a chance to run to the box office yet (going tonight) - most of the row A seats are gone now. Is it worth it?

I cant speak to the balcony but no question you want to be either mid-back of orchestra or mezzanine for this-- and if i was going again, mezzanine would be my choice. The only action not dead center stage really is people coming up/down the floor. First few rows of orchestra miss that drama (and i could see them craning to try and figure out what was going on...)



Show is good, not great. Some of the music is repetitive, and with such stock characters, I found my mind wandering during many of the slower numbers. But when it hits, it really hits, and Wait for Me and Way Down in Hadestown were fantastic- particularly the two versions of Wait for Me were staged so perfectly, it made the night.

Reeve Carney is ridiculously talented and I think he is doing a good job with what he has been given, but it seems hes being directed to overplay the "touched" element, so its hard to understand why Eurydice falls for him. He also sings many songs in a very high pitched voice, some of which borders on comical (as physically impressive as it is), which doesnt make the character particularly likable. When he gets to really emote/sing he kills it, like Wait for Me or the song where he rallies the workers. But the way he is being directed to play the character leaves a hole in the story. And his applause at the end seemed more muted as a result. An odd decision by the production- he certainly seems able to do much more with the role.

I thought the standouts were really the Fates, actually. Eva Noblezada sings the hell out of this, but her character felt underwritten. Amber Gray is doing great work, and had the audience in palm of her hand, but I hope she tones down some of the antics at the top of Act 2. Hard to imagine anyone other than Patrick Page being able to sing that role? Opposite of Carney: at times, sung so low it was hard to understand. But he and Gray are guaranteed Tony noms at the least.

Not sure what the complaints re Andre de Shields are. He seemed frail to me (like any minute he would collapse) but I think that might be part of the shtick. He was clear as a bell and kept things moving nicely.

Had a good time. Think it could be cut down and tightened. Saw production taking furious notes in the back of a packed house.