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stephaniejblockmotherme · 4 years

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it’s hard to choose one single favourite song across all of musical theatre but does anyone else have that one line that just hit so different it made you understand things about yourself you didn’t know about?

like idk about you guys but dave malloy diagnosed my depression with dust and ashes and anais mitchell came into my house and shattered a vase on the floor with “i was alone so long / I didn’t even know that i was lonely”

#musical theatre #broadway #hadestown #great comet #Dave Malloy #Anais Mitchell #dust and ashes #all i've ever known #depression tw #depression cw

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stephaniejblockmotherme · 5 years

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my ‘broadway ppl whose voices belong in original disney movies’ list no one asked for

with links to disney covers by them in case y’all try to doubt this @disneyanimation get in on this

Eva Noblezada idc how old alan menken is, get her on while he still has some juice PLEASE and then give her another just like with miss lea salonga thank youuu

Cynthia Erivo like goddamn y’all what’s taking so long

Bonnie Milligan give her the superstardom she deserves you cowards

Derek Klena he is so hot on top of that voice please please please give him a live-action role at the VERY least

Okieriete Onaodowan 54 below invite oak to perform so we can get some covers by him on the youtube challenge?????

Aaron Tveit ok now listen this man has somehow not covered disney publicly but we all know it would sound gr8 so instead have this underrated old ass video and imagine he’s a prince

#Broadway #disney #musicals #eva noblezada #cynthia erivo #bonnie milligan #derek klena #oak onaodowan #aaron tveit

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stephaniejblockmotherme · 5 years

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i remember seeing a post that was like “why is derek klena’s voice so nutworthy” and honestly op was onto some peered beyond the veil shit

#derek klena #broadway #dogfight #hercules #hunchback musical

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stephaniejblockmotherme · 5 years

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bringing this back because 1) great comet was perfect 2) i can’t wait for more dave malloy content 3) it’s fucking hilarious

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aaand Dave has done it again

#moby dick musical

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stephaniejblockmotherme · 5 years

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wasn’t actually gonna write the essay but you’re gonna make me do it uh

“are they? or are they personifications of your own fears and doubts?” implying that one is mutually exclusive to the other completely overlooks the mythological roots the fates are grounded in. all of the characters are mythical figures, orpheus and eurydice included, and so to suggest the fates have no tangible influence beyond representing doubts and fears that are already there is similar to suggesting Persephone doesn’t actually bring the spring. In real life, this logic holds true, but within the myth (because hadestown remains a story of myth despite being a retelling), it’s just an aberration.

i’m not saying that the fact that their will overrules all means it erases anyone else’s. but they get to use it as thread in the tapestry they want to weave.

“orpheus is so suspicious of hades and he doesn’t believe that they can go and he thinks its all a trap without any of the actual fates input“ yes, and the fates are aware that orpheus is more prone to doubt than ever. that’s why they give the solution of the trial to hades in word to the wise; they know orpheus is in a particularly vulnerable position to fail it. it’s funny that you’d bring up word to the wise for hades; the whole duality you describe only transpires through his one line, “i don’t know”. the song is very very much about the fates butting in to get what they want, taking advantage of hades’s internal conflict just as they do with orpheus’s doubt.

for the whole show, it’s actually eurydice they prey on, it’s even stated from the start that she is “no stranger to the wind”. but, because by that point she is more optimistic than ever, they turn to orpheus to 1) make sure eurydice stays in hadestown, like they wanted and 2) punish him for defying them. if eurydice had been the one who had to walk in front, they would’ve made it out. the trial, i cannot stress this enough, is designed to prey on orpheus’s doubt before he even starts questioning wether he can trust hades.

the concept of fate and destiny is so deeply ingrained in greek mythos as an all-powerful thing that trying to understand it through modern literary processes of personification (and through the ‘master of your own destiny’ lens) just completely warps what the fates stand for.

also hades hasn’t lived since the beginning of time, before there were gods there were titans but that’s besides the point

the fates are the true villain in hadestown

because while even hades softens to orpheus’s song eventually, they never do. they are furious with him for attempting to disrupt their will, so they make sure he is the object of his own destruction. it’s why they’re literally the first to be introduced in the entire show; whatever they want overrules any will or ambition from any other character, and that’s why because they pushed eurydice towards hadestown, orpheus never had a shot at breaking her out. in this essay i will

#do trust that whenever i finish a post with 'in this essay i will' it's not because i couldn't write the whole thing #it's because i've made my point #i know too much about greek mythology this is a bad thing to challenge me on if you don't know too much as well

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stephaniejblockmotherme · 5 years

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how does a gal go about sending an edible arrangement to the hadestown casting director asking for a friend

#hadestown #Broadway #musicals #hadestown obcr

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stephaniejblockmotherme · 5 years

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I love how the whole story of Hadestown loops.

“We’re gonna sing it again,” they say in both Road to Hells. And they do.

“We’re gonna sing it again” means nothing to you when you first hear it in “Road to Hell I,” but you totally get it by the end of the musical.

After Orpheus turns around in “Doubt Comes In,” that’s basically the end of the story—the story of Orpheus and Eurydice. But not the end of the musical. Because after “Doubt Comes In” is “Road to Hell II.” And “Road to Hell II” mimics the beginning of the musical.

Hermes even starts it with saying “A’ight,” just like he did in the beginning. The delivery isn’t in the same way he started “Road to Hell I,” but same in the sense that both the beginning of the musical and the last song of the musical begin with the word “A’ight.”

And soon after, the ensemble returns to the stage in their white tops and earthy-colored jackets, and Eurydice comes out in her Act 1 clothes.

“Anybody got a match?” she asks.

Hermes holds out a matchbox for her—similar to how he did in “Any Way the Wind Blows.”

“Gimme that,” Eurydice says as she snatches the box. She sits down on the ground, takes a candle out of her bag, and lights it.

She then takes out a red flower from her pocket. She looks at it, holds it to her face, and sniffs it. There’s some sentiment to this flower that she’s yet to know of. She feels connected to it somehow, but in what way? How did it get in her coat pocket? Though she doesn’t quite know the answers to those questions, she still smiles, and puts it in her hair.

The song proceeds, and as we near the end of it, Eurydice stands up.

From the other side of the stage, Orpheus emerges in his apron. He looks up, meets eyes with Eurydice, and stares at her, who’s staring back at him.

Just like they were in the very beginning of the show.

You can interpret their stare as a “love at first sight” kinda thing, but maybe that’s not it. Maybe they’re staring at each other because they both seem so familiar. A stare that reads “I feel like I know you… like I’ve known you all my life; You remind me of someone, but who are you?” and so they lock eyes trying to figure that out. It’s like they’ve known each other before they met (sound like a familiar lyric?)

As Hermes says for the last time, “We’re gonna sing it… again…,” the piano ends off the song, and you’re left with goosebumps and a rush of emotions you can’t even begin to comprehend.

It’s truly beautiful.

#holy shit

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stephaniejblockmotherme · 5 years

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on a scale of “your eyes” from rent to “epic III” from hadestown, how good is your song that you’ve spent the entire musical working on

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stephaniejblockmotherme · 5 years

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one of my favourite things about hadestown is how the entire time, orpheous’ characterisation is that he’s too naive, too hopeful, too optimistic for his own good. technically, when hades says he can lead eurydice out of hadestown, he should blindly believe him. but the tragedy in the situation is that it’s in this moment when orpheous hardens to the world and becomes savvy to its ways. and the sudden contrast between his previous mindset drives him crazy and suddenly, nothing and no one is trust worthy. so he turns around

#hey op i just wanna talk

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stephaniejblockmotherme · 5 years

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#most ambitious crossover in history

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stephaniejblockmotherme · 5 years

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the fates are the true villain in hadestown

because while even hades softens to orpheus’s song eventually, they never do. they are furious with him for attempting to disrupt their will, so they make sure he is the object of his own destruction. it’s why they’re literally the first to be introduced in the entire show; whatever they want overrules any will or ambition from any other character, and that’s why because they pushed eurydice towards hadestown, orpheus never had a shot at breaking her out. in this essay i will

#see: shelter us from the wind the wind the wind #Hadestown #hadestown obcr #Anais Mitchell #hadestown the fates #Broadway

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stephaniejblockmotherme · 5 years

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How did it take me so long to realize that "whole damn nation's watching you?" is kind of a play on words?

#anais galaxy brain mitchell

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stephaniejblockmotherme · 5 years

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okay but these lyrics from “flowers”hear me out

“I remember someone Someone by my side Turned his face to mine And then I turned away Into the shade”

imma punch a wall white-boy style who gave anaïs mitchell the right?? for this brutal symmetry????? and like to put it right at the end of the song -but not quite- just like how the ‘end’ of their story isn’t quite the end of the song/show? and then;

“You, the one I left behind If you ever walk this way Come and find me lying in the bed I made”

making eurydice break out of her recollection to address orpheus right afterwards?? just like how at then end, after orpheus turns to face eurydice who has to turn away into the shade, hermes goes back to addressing the public????????? like I may be reaching but:

eurydice is losing herself, and she is helpless in hadestown, so she calls for the one person who remembers who she is/ her story

hermes turns to the public who now knows the story, if they didn’t already. he has to, because Orpheus, having lost eurydice and his capacity to see the world how it could be, is now lost himself by his own fault too. there is nothing hermes can do to help him anymore. the only thing left for him to do is to make sure people still sing their song / remember their story.

tl;dr flowers is a streamlined version of eurydice’s story which 1) tells you how it ends before it’s even over and 2) mirrors the end of the actual show but 3) it’s honestly more dramatic irony than foreshadowing because there is an expectation you already know how it all ends

anyways i’m boiling shove me on the tracks while you’re at it ms. mitchell

#why does this make me so angry #hadestown #Anais Mitchell #Broadway #hadestown flowers #eurydice #i'm late on catching up to the obcr ik it's called self-preservation

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stephaniejblockmotherme · 5 years

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op you’re right and you should say it

singing la, la la la la la la

SHEEEELLTER USSS!!!

think of them as my embrace…

LAAAAAAA la la la la la la…

HAAAAAARBOUR MEEEEEE

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