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hs-conspiracy · 4 years

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Non-Romance Sad Songs in Musicals

Listening to a lot of musicals this past couple months really opened my eyes to how many sad and emotional songs are about romantic love. Most of the biggest musicals today like Rent, Wicked, Six, Hadestown, and more all have their emotional climax songs be about love. This isn’t something everyone can relate to, and it can get boring and lose its touch after a while. So I decided to list sad, emotional songs that are not about romantic love that other people can relate to.

“She Used to be Mine” (Waitress)

Arguably the best song in all of Waitress. Hearing Jenna mourn the death of the person she used to be is heartbreaking and shows how her marriage and depression have taken a toll on her. She states that she knows who she used to be was not perfect but it was her, not the cold shell she currently was. While the show never says outright that Jenna has depression, this song makes it clear and is a song many people with depression or other mental illness can relate to. Watching Jenna throughout the musical, you see her trying to get some of her light back through her affair Dr. Pomatter, but cheer when she realizes that it was not the right way and finally seeing her happy away from romance is heartwarming and makes “She Used to be Mine” a great song during any re-listen

“No One is Alone” (Into the Woods)

A song about grief and mourning the death of your family, how can you not cry? Red, who was always a bright light throughout the musical, and the slow Jack both crying after finding out their mothers and grandmother(in Red’s case), the last of their families, had died is devastating. Both Cinderella and the Baker have to set aside their own grief, Cinderella from finding out the man, who she thought could be family when she had no one, cheated, and the Baker from finding out the death of his wife leaving him alone with a child he had a hard time caring for without her, to comfort these children is so sad that leaves everyone in the theatre crying by the end. Anyone who has lost someone close to them or fear it can relate to this song, making it hit even harder.

Each of the Trio’s solos from The Lightning Thief: a Percy Jackson Musical

Okay so this musical has three emotional songs that have different themes that anyone can connect with. Percy sings about how no one has ever treated him like anything more than misfit except his mom, who he watched “die” in front of him, leaving him feel alone and needing someone who sees him for him. (“Good Kid”) Annabeth sings about how no one trusts her with anything important and she had to fight to be respected, but she still feels like no one does. (“My Grand Plan”) Grover sings about his insecurities caused from the trauma of not being able to save a friend even though that was his job as a Protector. (“Tree on the Hill”)

I would also like to point out the reprise of Percy’s song in “Last Day of Summer” sung by Luke. It shows how people could be in a similar situation and have the same mind set but still have two completely different views on how to fix their problems, a theme consistently in the Percy Jackson books between these two characters that was brilliantly executed in this musical based on the first book.

“Lifeboat” (Heathers: the Musical)

One of the most popular songs from this musical that has yet to make it to Broadway; “Lifeboat” shows what happens to someone when they lose their place and friends, only to get constantly belittled. This song is why Heather McNamara is most people’s favorite character.

“When the World’s a Stake” (Trail to Oregon)

A song for the mothers out there. Mother laments about how she had to give up her dreams after she got pregnant with her daughter, but she does not want the same for her. Mother married Father to give her daughter the best life she could even though at the time she did not want her. However, after seeing her daughter for the first time, she vows and pleads to God to let her daughter have “a better life than I can provide,” something any mother can relate to.

“Michael in the Bathroom” (Be More Chilled)

Of course I have to talk about this song (otherwise the BMC fandom will attack me lol jk) A song about losing your best friend and how much it hurts, something everyone has experienced. I haven’t really listened to BMC so I’m sure someone else can do a much better job of explaining this than I can.

“What Tim Wants” “If I Fail You” & “Black Friday” (Black Friday)

Another Team Starkid musical. I’m trying not to fill this list with all Starkid but I can’t not bring up these three songs from their most recent musical. Tom sings about how he is trying to make his son happy after the death of Tim’s mother (“What Tim Wants”) and then him releasing that all Tim wants Tom to do is be there, not something superficial like a toy (“If I Fail You”).

“Black Friday” is a beautiful song sung by Lex. Lex thinks she is about to die and leave her younger sister, Hannah. She remembers how she vowed to protect her sister from their mother and the world. The song ends with Lex accepting her death even though all she wants to do is fight for her sister. A song parents, siblings, and friends can relate to.

“All Grown Up” (Bare: a Pop Opera)

Probably one of the saddest songs in the saddest musical. With the setting being a Catholic school where all the students all have something serious going on, of course it's going to be sad. But to me, “All Grown Up” is the saddest non-romance song in the musical. Ivy sings about how she messed and feels like her family will be disappointed, that she let them down. How did she mess up you might be asking? She got pregnant at 16 with a guy she doesn’t feel like has true feelings for her (which the audience knows he is in love with his best friend, another boy). This song is her crying to Nadia, her roommate and sister to the father, about how she doesn’t know what to do. In the first act, Ivy isn’t a character most people like since she unknowingly getting between Jason and Peter, but this song makes her a character everyone sympathizes with. And while not everyone is/was a teen parent, the feelings she has of disappointing her parents are painful and relatable.

I encourage anyone to add to this list if you know anymore songs I haven’t thought of.

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365days365movies · 3 years

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March 9, 2021: Orpheus (1950) (Part One)

Greek mythology was my first mythological love.

And yes, that is ironically a very cliché thing to say about Greek mythology, since it’s by FAR the most popular and well-known mythology in the Western world, but...what can I say, I’m a sucker for the classics.

When I was 6, my mom got me a copy of the Odyssey, followed by D’Aulaire’s Book of Greek Myths, and that book was my SHIIIIIIIIIIT. From the Titanomachy to the Trojan War, from Decaulion to Daedalus, from the Lernaean Hydra to Ladon, and from Zeus to Dionysus (my second favorite Olympian), I LOVE Greek mythology.

There have been countless adaptations of these stories over the last century of so, some better and more faithful than others. We got Blood of Zeus (which I...genuinely dislike) on Netflix last year, Lore Olympus is a fantastic webcomic and modernized retelling of the universe of stories in general (fuck Apollo, that’s all I have to say), Hercules by Disney is fun (though extraordinarily inaccurate), and who doesn’t like some Percy Jackson (the books, not the movies)?

Today’s entry won’t be the first of the Greek mythology stories this month; after all, it’s DEFINITELY fantasy, so there were going to be a few entries in here. Some will come pretty close to each other later this month, but for this one, we’re jumping forward 10 years from The Thief of Bagdad to 1950. Let’s get back to France, shall we?

Famous for his adaptation of Beauty and the Beast is Jean Cocteau, legendary French surrealist filmmaker. His stylings definitely capture a sort of practical magic, compounded with clever angles and fascinating visual and practical effects. It’s evident with the classic fairy tale, which I would’ve done this month had I not already seen it. So, instead, we’ll be looking at the middle film in a trilogy known as Cocteau’s Orphic trilogy. This is, apparently, the most important one. And that makes sense, since it’s focused upon...

Is Hadestown good? I’m real tempted to find a way to watch it, and it sounds like it’s just up my alley. I’ll probably check it out one of these days.

Orpheus was (maybe) the son of Calliope, the muse of poetry, and Apollo, god of music. Maybe. Parentage differs based on the retelling. No matter the parents, he was renowned for his charm and grace, as well as his voice and music. He was loved by animals, nymphs, and maidens alike. He was invited to be the Bard of Jason’s DnD group (AKA the Argonauts), and used Bardic Performance to inspire his comrades (and also helped them overcome the sirens by singing EVEN LOUDER).

But the one whom he loved most was his wife, Eurydice. Unfortunately, a satyr (AKA horny horned half-goat man) chased her right into a viper’s nest, where she was bitten and died. Orpheus was CRUSHED, and his song was so depressing that even the gods cried. They said, “Dude, go to the Underworld, get back your lady from Hades, please!” And he did.

Hades, the old romantic that he secretly is, agrees to let Eurydice’s soul, on one condition. That he doesn’t look back at her as she follows him out. Orpheus agrees, but the man can’t stop himself from looking back to make sure that she’s there. And she was...and then she wasn’t. So, our sad boi fucked up, and then...well, it’s spotty.

See, some people say that he stopped worshipping Dionysus (his previous patron), and the wine boi’s female followers tore Orpheus to pieces as punishment. Some say that these same women got a liiiiiiiiiittle too into the Bacchanalia (think orgies, but religious and violent), and ripped him apart in a frenzy. And some say that he only took male lover from then on, and women tore him to pieces for not paying attention to them (also, possible homophobia). You know, it varies. Still, we can agree on the ripped apart by women thing. His head could still sing, and as the women threw his body parts into a river, it sang a song so beautiful that the rocks and branches in the river refused to strike it. His instrument of choice, a lyre, was eventually interred amongst the stars as the constellation Lyra.

The story of a pained artist searching for a lost love and losing her is all over the goddamn place, with the crazy-ass Moulin Rouge being a solid example of it.

But OK, let’s finally begin Orpheus, or Orphée to be more accurate. Gonna be a weird ride, I guarantee it. SPOILERS AHEAD!!!

Recap (1/2)

The story starts with a recap of the original myth, and notes that it doesn’t need to be limited by time and place. This sort of story, after all, could happen anywhere and at any time. And in this case, that time and place are 1950s-era France, where we quickly meet famous poet Orpheus (Jean Marais).

At a café, he meets a friend, the Editor (Henri Crémieux), where they speak on Orpheus’ fame, which is not well-liked in a cafe frequented by poets. Also arriving there is a young drunken poet, Jacques Cégeste (Édouard Dermit), who is accompanied by his patron, known only as...the Princess (María Casares). Come on, guys, can we give our female characters names, please?

Anyway, Jacques quickly gets into a drunken brawl with other patrons, which leads to the arrival of the police at the café. They forcefully arrest him, but before they can, he’s hit by a couple of motorcycles, and potentially killed. The police bring Jacques back to the Princess’ car, with the help of her driver Heurtebise (François Périer). For unknown reasons, she summons Orpheus to help them. He agrees, and goes with them to the hospital.

Or he would be, if they were going there. Instead, as they drive off, Orpheus discovers that Jacques is dead already. They aren’t going to the hospital. Instead, they head to a mysterious mansion, as ominous and oblique poetry plays on the radio. They’re soon accompanied by the men on the motorcycles that killed Jacques, who work for the Princess. The plot fuckin’ THICKENS.

Back at her mansion, they bring the body of Jacques upstairs, much to the confusion of Orpheus, whom the Princess keeps calling stupid whenever he asks questions. However, he’s not proving her wrong, as she immediately convinces him that she’s actually dreaming at the moment. Although...maybe he is?

She sits in front of a mirror, which breaks...somehow. Frustrated, she commands Orpheus to wait there for her to return, as she goes to check on Jacques and her men. Like me, Orpheus is confused. This gets worse for me, though, as the Princess goes to the other room and tells the dead Jacques to get up. AND HE DOES. Well, Jacques’ a zombie, I guess. He identifies the Princess as “his Death”, which she agrees to. She tells him to hold on to her coat, and then...

...I got questions. I GOT QUESTIONS HERE.

They go through the mirror, and the Princess’ henchmen follow, just as Orpheus walks in. He also has questions, and he tries to go through the mirror, to no avail. Completely confused at this point, he passes out against the mirror, alone in the mansion. And then...he’s outside.

Yeah, he’s just outside now, and waiting there is Heurtebise, the chauffeur! Orpheus is freakin’ out, and Heurtebise has no answers for him, but has been told to take him back to town once he...arrived. OK. Still questions.

In town, the disappearance of Orpheus is being discussed by a police inspector, his wife Eurydice (Marie Déa), and her friend Aglaonice (Juliette Gréco). Aglaonice doesn’t seem to like Orpheus very much, as she’s trying to convince Eurydice that he’s cheating on her. And that’s hard to argue, since he was last seen with the Princess. However, just as there’s about to be a scandal reported by a spontaneously appearing journalist, Heurtebise and Orpheus arrive home.

After a rough encounter with the journalist, he arrives home to a relieved Eurydice, and an enraged Aglaonice, whom Orpheus also dislikes heavily. He’s apparently forbidden her from entering his house, and tells her off. The Inspector leaves too, and asks Orpheus to come to his office to discuss the matter of the missing Jacques.

Eurydice reminds Orpheus that Aglaonice is dangerous, as she runs...the League of Women. Well...I think we know what role Aglaonice is going to play by the end of this. Her and her League of Bacchanalian Women, get me? Yikes. Anyway, the conversation turns into an argument, when the EXTREMELY ornery Orpheus basically just storms off, being a DICK to his poor wife. And when he goes upstairs to his room, he actually sneaks out of the window.

Meanwhile, Heurtebise comes into the house to offer an alibi to the pained Eurydice. While she doesn’t quite believe it, the two share some time together and seem to bond. However, when he smells gas from the stove, Heurtebise lets it slip that he committed suicide by using a gas stove. He covers it up before Eurydice notices the slip-up, but...OK. So, “the Princess” is death. Going by the traditional Greek myth, she’s some form of psychopomp, and the world beyond the mirror is the Underworld, I can only assume. OK...I can dig it.

Orpheus, meanwhile, is at the car, listening to the strange radio poetry and writing it down. The, uh, “Princess” is busy as well. Like a ghost, she walks into the household and watches Orpheus as he sleeps. A narration refers to her as Orpheus’ death. Funny, I’m pretty sure that’s going to be Aglaonice’s role.

Two days later, Orpheus is increasingly obsessed with the poetry from the mysterious radio and its odd messages. While Eurydice seems to mock this obsession, Orpheus also seems to be far too enraptured in it. But, interestingly, the messages seem to be coming from nowhere known. However, it’s all beginning to affect their marriage greatly.

On the phone, the Inspector comes calling, and Eurydice asks Heurtebise to answer the phone. He does so, and soon after, we see the phone float into place, as if placed there by a ghost. That’s confirmed as Heurtebise phases to the outside from nothing, where he meets Orpheus and informs him of the message. The two decide to head to the Inspector in his car, rather than the mysterious talking car.

While Orpheus goes through town, looking for the Princess rather than the Inspector, there’s something that I wanted to mention here. Call it an interpretation. Apparently, Heurtebise is often considered an angel by critics and interpreters. However, I’m gonna suggest that he’s actually supposed to be a representation of Hermes, the messenger god and a psychopomp who escorted souls to the Underworld. Not sure about the Princess yet, but Cocteau apparently never meant for her to be portrayed as actual death. Interesting.

Meanwhile, at the Inspector’s office, both Aglaonice and Orpheus’ poet friends (supposedly) are accusing Orpheus of being involved in Jacques’ disappearance. The Inspector turns them away, just as Heurtebise and Orpheus reconvene in town. While Orpheus didn’t find the Princess, Heurtebise says that she came by, saying that he could stay with the married couple for now.

Speaking of the Princess, we see her at night, staring over Orpheus. And her eyes are...strange. They seem artificial, and it bothers the EVER-LOVING SHIT out of me. And the whole affair isn’t helping Eurydice either, as she’s tired of Orpheus’ obsession with the car, and is planning on going to Aglaonice for advice. Heurtebise tries to stop her from doing so, but she insists. But when she goes...the motorcyclists come for her. And she’s dead. As proven when the Princess arrives through the mirror.

Alongside her comes Jacques, acting as the Princess’ servant. She notes to him that their work isn’t easy, and couldn’t be done if she were dressed in the way the humans portray her. So, she is seemingly Death, or at least an aspect of Death. Obviously, as we’re talking about the Greek story, we can assume that she’s meant to be Hades in particular. But, we’ll see. It’s also confirmed, by the way, that the mysterious messages are indeed Jacques’ poetry, recited by him on the radio waves from beyond the grave. Neat.

Heurtebise is clearly upset with what’s just happened to Eurydice. He asks if the Princess actually had orders to kill Eurydice. She avoids the question, and guesses correctly that Heurtebise has fallen in love with Eurydice. He confirms this, and counters with the fact that the Princess has seemingly fallen in love with ORPHEUS. The plot fucking THICKENS.

Good place to pause, I think. Halfway mark and all. See you in Part Two!

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beebleboosuwu · 4 years

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Alright.

There are a lot of conflicting emotions about having The Music Man kicking out Beetlejuice from the Winter Garden. Although I am bitter that one of my favourite musicals is being replaced in favour of money and two big names is just.. not sitting right, but I am open to everything and trying to look at everything with open eyes and an unbiased opinion.

Did Will Blum’s influence this a little? Yes.

Was the post a little unsound and unprofessional? I think so but it brought up some great points.

Yes, I agree. The fact that you are selling a name instead of a GREAT show is disrespect to the source material. Hugh Jackman is an awesome guy and his tenure as the Boy From Oz is forever embedded into Broadway his(her)story as being a stepping stone for Hugh’s career. Also you have Broadway star, Sutton Foster, another big name who, if you are a theatre lover, can’t help but fawn and scream in excitement.

We all know and love Hugh Jackman as the Wolverine/James Howlett/ Logan, that’s what people associate him as such. Fun fact he played that role from 2000-2018. Wolverine is known to be big, all muscle and raw strength, but in the theatre world we know him as a musical theatre actor. Jackman first claim to international's fame was in 1999 when he played the leading man, Curly McLain, in the film adaptation of Oklahoma! He played the titular character Peter Allen in Boy from Oz in 2004 which he won a Tony for and Jean Valjean in the film adaptation of Les Miserables in 2012 while that wasn't the best adaptation of that musical, they did include Broadway and West End actors which was awesome! And lastly the most recent entry musical/film role was P.T Barnum in The Greatest Showman, Jackman went on tour last year singing songs from The Greatest Showman and some other songs from other musicals he previously worked in. He is an amazing vocalist, actor and dancer. His performance in Boy From Oz says as such in a review by Charles Isherwood: praising Jackman but panned the show: "Jackman is giving a vital and engaging performance in this pitifully flimsy musical almost in spite of the material he’s been handed. It’s a sad waste of an exciting talent." I’m pumped.

Sutton Foster is a Broadway actress that is well known for her two-time Tony award winning performance as Millie in Thoroughly Modern Millie. She has also roles from other shows such as: Chess, Funny Girl, Les Miserables, Anything Goes, Grease and MANY more. I knew her best as Reno Sweeney from Anything Goes, her vocals are nothing but extraordinary and her acting is nothing to sleep on, she is an excellent dancer and I cannot help to try and recreate in my bedroom when I’m alone. You can say all you want about her, but she is one of the Broadway actresses I know from the top of my head, alongside Patti LuPone, Sierra Boggess and Liza Minelli. She is also the younger sister of Hunter Foster of Little Shop of Horrors and Urinetown fame. Foster is going to be amazing as Jackman's partner in the upcoming production and honestly as a fan, I am so excited!

They are both triple threats but.. no one knows a lot about the Music Man. It is a classic and has been around since the late 50′s.

Broadway, coming into the new decade of 2020, is becoming more MODERN. All these new musicals that have come out during this past decade might not have made it to Broadway but they are more aligned with the changing times and modern settings. Though there are musicals based on films from the 80′s that reach out to that generation and reintroduce them into that mind space they were in back in the day.

American Idiot, great musical, angsty music but has that throwback niche to that rebellious stage some, or not most, of us went through in the 2000′s.

Elf, that also starred Will Blum at one point, is fan service to those who love the holiday season and those who loved the film that came out in 2003. I haven't listened to it yet BUT I WILL EVENTUALLY.

Heathers, we all love the Heathers. Also Winona Ryder, who played Lydia Deetz in the 1988 Beetlejuice film, starred as Veronica Sawyer. Like Elf, IT BRINGS INTEREST TO THAT GENERATION SO THEY COULD BUY TICKETS TO THIS SHOW THAT WAS BASED ON A FILM THEY WATCHED AS TEENS. Also can we just forget about the horrible rendition of Candy Store done by the cast of Riverdale? That never happened. NEVER. HAPPENED.

Beetlejuice, Come From Away, Ghost, Once, Book of Mormon, Finding Neverland, Newsies, Kinky Boots, Natasha, Pierre & The Great Comet of 1812, Big Fish, 21 Chump Street, Amélie, Be More Chill, Hamilton, Head Over Heels, Lazarus, School of Rock, Something Rotten!, Tuck Everlasting, Waitress, Anastasia, Hadestown, SpongeBob SquarePants, The Prom, Ain’t Too Proud, Everybody’s Talking About Jamie, Frozen, Mean Girls, Six, Summer: The Donna Summer Musical, The Lightning Thief, Jagged Little Pill, Moulin Rouge!, The Cher Show, Tina: The Tina Turner Musical, & Juliet, Mrs. Doubtfire.

These are SOME of the MANY shows that came out this decade!

Some musicals are entirely satirical so that was a niche for audiences who love the weird and messed up humour, some musicals are named after the films or shows they were based off of. So old audiences can take interest into coming to Broadway, okay I get that because again, nostalgia, some are entirely original or had little to no source material! Some are based around history, some about civil rights issues and some of them are jukebox musicals that appeal to people who like those artists.

Broadway has always been conservative and prefers to play it safe when it comes to opening a new productions and the dominant audiences have been older and more traditional. So that stereotypical Broadway show people think of is just that, the lead character getting their “want song” in, a lot of dancing, internal or external conflict that ultimately gets resolved with cheerful songs and set pieces. Although newer audiences want those boundary pushing shows so CAN get introduced to musicals like the Music Man, it means nothing if they were never introduced to the strange and unusual first. Everyone wants to advance to find that next big thing but they can’t do that when it is all safe but we did get some of them with Cats, Beetlejuice, Carrie, Matilda The Addams Family and more.

I totally get the interest of bringing back a musical that hasn’t been on Broadway for 20 years (last performance was in 2000) and it is a great way to reintroduce an old piece back into the world again, but it was at the expense of new artists making their Broadway dream a reality. The decision to evict, not close, evict Beetlejuice from the Winter Garden was a big mistake by the Schubert Organization. The Schubert Organization is one of the biggest landlord of theatres in New York, they at least own 17 Broadway theatres. Here’s the reason why they’re so successful:

They don’t keep shows that don't bring the cold hard cash. It’s show business, it has always been about the business and never about the show. As much as we could scream and shout to keep Beetlejuice in the Winter Garden all we want, it is unfortunately their decision to keep them or boot them out. We all know that productions have to be approved by a theatre organization so that production can be leant one of their many theatres, they show also had to keep up a total of sales from tickets above that number per week. As all of you know, that’s what happened with Beetlejuice. Ticket sales dried up and fell way below the amount. There was talk around the theatre community that a production of the Music Man was in the works with Hugh Jackman as the lead. So... they saw Beetlejuice as dead weight and sought out to cash in on Hugh Jackman’s name and fame.

There was a lot of problems from the show but most of their problems came from the critics. Mixed reviews was all the show got but the biggest blows came from the New York Times and Ben Brantley saying that the show never came to that same conclusion of home and belonging like other Broadway shows. This killed their ticket sales cause everyone goes through those reviews before they see a show. However that’s the thing, Beetlejuice never wanted that. The entire creative team and the cast knew that what they had was entirely unconventional, like it was their way sticking of the middle finger at the word conventional.

There's no doubt that the Music Man, Hugh Jackman, Sutton Foster and the cast and creative team will be amazing at the Winter Garden and it is highly unfortunate that the eviction of Beetlejuice was done for the sake of financial greed. I’m glad they were only evicted and not closed, the show IS still on and the public demand for the show is high. I know a lot of us hate the decision but what could you do? It’s all about the business aspect of Broadway and never the show.

Even though Beetlejuice had its problems with its opening following the Harvey Weinstein controversy, having the Music Man revival during this time of political conflict is a little awkward. Let’s trade a sexual, murderous demon for a eulogized conman.. that seems right.

I’m sure the show will be fantastic but the circumstances leading up to the opening is shady and not shining a good light for the Schubert Organization but lets not hate the actors and the creative team of the Music Man, they didn't do anything wrong. Instead, point that dislike to corporate greed, but is okay. The show is not closed and is only evicted from the theatre. Eventually they will find a new theatre on or off Broadway for everyone’s enjoyment again! Also that National Tour is coming up in Fall 2021 I believe, I personally can’t just fly to New York but I will be watching the National Tour if it does roll by where I live.

Keep safe my friends 💚🤍🖤

#savebeetlejuice #beetlejuice the musical #beetlejuice broadway #Beetlejuice musical #Beetlejuice bway #opinions #music man 2020 #im sad #really sad #like #the marquee #is so ugly #why #uhhhh #I am being bitter

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ink-or-blood · 3 years

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Musicals Ranked On What Percent of the Cast Album is On My Spotify Top 100

So fun fact about me: I pretty much only listen to musicals. And as a result, my entire Spotify Top 100 is musicals. I also tend to listen to musicals on repeat, so there are only 13 shows on this list. Anyway, I thought it would be fun to see how much of each show was on my playlist, so I compared the number of songs from each show on the list and compared it against the number of songs on the cast albums, then I found the percent. Here’s the results.

13. Matilda (1/26, 4%)

I’m kind of shocked that there aren’t more Matilda songs on this playlist, considering that I would have been in it in April. And yet, only one song ended up on my playlist.

12. Something Rotten (1/18, 6%)

I love Something Rotten a lot, but I don’t listen to it all that often. I actually have a poster signed by the touring cast hanging up in my room at my mom’s house.

11. Hedwig and the Angry Inch (1/14, 7%)

This is one that people on Tumblr might not have heard of as much. It’s an absolutely fantastic show that’s staged as a concert and it’s incredible and I love it. Shockingly, my favorite song from this show was not on this playlist.

10. Frankenstein (2/26, 8%)

I think most people don’t know that there’s a Frankenstein musical. This one is shockingly accurate to the book, which I loved. Something you may not know about me is that I really love the book, it’s just so interesting. This musical even included the letters, which was super cool to see.

9. Groundhog Day (2/19, 21%)

Groundhog Day is one of my favorite shows that ended too soon. It closed on Broadway too early, and then the national tour was cancelled. Even without the pandemic, I don’t think you’d be able to find a production of Groundhog Day that you could watch live.

8. The Lightning Thief (5/24, 21%)

I actually only listened to this for the first time a few months ago, but I think Spotify might put more weight on the later months. I’m pretty surprised that so many songs ended up on here, considering I only listened to the full album a few times.

7. Billy Elliot (4/15, 27%)

I watched the proshot of this back in April or May, and I did not expect to like it as much as I did. When I saw Angry Dance I knew that I had to see this in person at some point. Obviously, I haven’t gotten a chance to see it yet, but hopefully one day I can. Anyway, every time I listen to Once We Were Kings I tear up a bit.

6. Trail to Oregon (5/17, 29%)

And here’s Starkid everybody! I haven’t actually listen to TtO in awhile, but for a while I would listen to it as I fell asleep. I didn’t listen to the full soundtrack during that time, I actually made a playlist with only the songs that I enjoyed listening to.

5. Starship (4/9, 44%)

Okay, so maybe this show is so high on the list because there’s only nine songs, but I still really like this show. I wish there was sheet music for it because I’d love to learn how to sing Life or Status Quo.

4. Apocalyptour (13/22, 59%)

Okay, so technically not a musical. But, it is entirely composed of musical songs, so I say that it counts. I really like listening to the medleys on this album, and it’s fun to hear some different people sing Starkid songs.

3. Hadestown (28/40, 70%)

Yeah. Over 25% of the playlist was Hadestown. All five of my top songs were from Hadestown. My five top artists were all people from Hadestown. According to Spotify I listened to this for a total of 933 minutes. No, I don’t know how I did that. I guess I listened to it on repeat a lot.

2. Tuck Everlasting (18/24, 75%)

Another show that closed far too soon. It’s so good, and I love it, and it’s extremely underrated and underappreciated. I love the album so much. I listen to Time and I cry. I listen to Time Quartet and I cry. I listen to The Wheel and I cry.

1. Moulin Rouge (16/19, 84%)

So I know this one can be kind of controversial because some people thought that it got too modern when they put it on stage. I, however, love it. Shut Up and Raise Your Glass slaps. Crazy Rolling also slaps. I love Come What May so much. Plus, Karen Olivo is Satine, and she’s my favorite actress, so I was doomed to fall in love with this show.

So I also wanted to share exactly what songs are on the playlist, so I’m putting it under the cut. Get ready for a lot of Hadestown. For everyone who doesn’t know Starkid, I apologize for the titles of the songs in Apocalyptour. I did not name them.

Moulin Rouge:

Come What May

El Tango De Roxanne

Welcome To The Moulin Rouge!

The Sparkling Diamond

Nature Boy

Truth Beauty Freedom Love

Finale (Come What May)

Elephant Love Medley

Crazy Rolling

Backstage Romance

Chandelier

Your Song

Only Girl In A Material World

Firework

Shut Up And Raise Your Glass

Your Song (reprise)

Tuck Everlasting:

Live Like This

Hugo’s First Case - Pt. 1

The Wheel

Hugo’s First Case - Pt. 2

Good Girl Winnie Foster

Good Girl Winnie Foster (reprise)

Top of the World

My Most Beautiful Day

Partner in Crime

The Story of the Tucks

Seventeen

Prologue

Join the Parade

Time

You Can’t Trust a Man

Everything’s Golden

Everlasting

The Story of the Man in the Yellow Suit

Hadestown:

Livin’ it Up on Top

Road to Hell

Any Way the Wind Blows

All I’ve Ever Known

Wedding Song

Wait for Me

Gone, I’m Gone

Epic I

Epic II

Come Home with Me

All I’ve Ever Known (Intro)

Chant

Chant (reprise)

Promises

A Gathering Storm

Wait for Me (Intro)

Papers - Instrumental

Nothing Changes

We Raise Our Cups

Epic III

Our Lady of the Underground

If it’s True

Flowers

Hey, Little Songbird

When the Chips Are Down

Word to the Wise

Come Home with Me (reprise)

Wait for Me (reprise)

Apocalyptour:

Not Alone

Guys Like Potter

Me and My Dick/Ready to Go

Rogues Medley

This Is Where the Trolley Ends

Going Back to Heaven During Those Days of Hogwarts On Earth

This Really Sucks for Me

Dark, Sad, Lonely Knight

Little White Lie Medley

The Way I Do

Listen to Your Heart

Sami/Harry

Granger Danger

Starship:

Kick It Up A Notch

Life

I Wanna Be

Get Back Up

Trail to Oregon:

Lost Without You

Wagon on Fire

When the World’s at Stake

Speedrun

When the World’s at Stake (reprise)

Billy Elliot:

The Stars Look Down

Shine

Solidarity

Grandma’s Song

The Lightning Thief:

Prologue / The Day I Got Expelled

Lost!

My Grand Plan

Drive

Good Kid

Groundhog Day:

Day One

There Will Be Sun

Frankenstein:

Birth to My Creation

The Hands of Time

Hedwig and the Angry Inch:

Sugar Daddy

Something Rotten:

God, I Hate Shakespeare

Matilda:

Revolting Children

#spotify #spotify top 100 #musical ranking #moulin rouge #tuck everlasting #hadestown #apocalyptour #starship #trail to oregon #billy elliot #the lightning thief #groundhog day #frankenstein the musical #hedwig and the angry inch #something rotten #matilda

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ray-ray-writings · 3 years

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700 Friend Behind the Scene Special!

Hello there! So a little bit of back story, everything I write is written in a google doc because it automatically saves everything and I can think clearer when I’m typing in a document. Sometimes when I’m writing, I’ll get tired or get stuck or write something I don’t like. So I’ll make a note to myself of what I was writing so I can come back to it later, or write out the basic idea of what I want to happen so I can visualize it in words better, or hit enter a few times and re-write somethings. So in celebration of me hitting 700 friends I have gathered a few of those things so that I can share with you a little bit of my thought process, but also so you might have a laugh or may see where some of your favorite stories almost went. I don’t know if any of you will actually like this or actually care, but I thought that it was something cool lol. So here you go! I hope you enjoy!!!

Notes to Self/Prompts to Myself

A Dedicated and Domesticated Pig: *Note to future self so I know what I was going for. He’s making breakfast with your child on your hip. I’m thinking a daughter named something with Phil’s name maybe or maybe just a T name. Then you two are leaving for a festival in L’Manberg where Philza interacts with your daughter. And the night ends with you three cuddled up together and you’re reminiscing on how he asked you out and then it all comes full circle somehow using the words dedicated because we’re that kind of simp*

Gift of Friendship: Techno- “I made friendship bracelets”. “I don’t wear jewelry” “oh okay. I can take it back. You don’t have to wear it I’ll take it back-“ “no I will wear this until the day I die

Notes in general: There are a lot of *Insert title here* or *Insert really cool and creative title here*

There is also a lot of *Insert really nice summary here that sums everything up but is also clever*

Actually Pretty Funny: I knew I wanted to use “Tommy leave me alone” “Tommy told me you were in here crying” “That little snitch” but I didn’t know where so I made a note to use it.

What Could Have Been or Almost Was

This has a few pieces of writing but is mostly about what I almost titled the pieces you know and love.

Stolen Goods: I was about to retort but the sound of the nether portal activating cut my words off.

“We’re back!” I heard my younger brother call out. Techno and I walked together toward the portal to greet our brothers, but they weren’t alone. “Hey guys! Oh hey Dream,” I greeted the three, setting my chest down next to the wood I brought in earlier. “Hey Y/N/N? Get what we asked for?” Tommy asked, walking toward me. I simply stared at him and then looked at the pile of wood beside me. “No” I deadpanned.

I then turned to my chest and quickly put my axe away. “Then what’s that?” Tommy questioned in confusion. I rolled my eyes, closed my chest and turned to him. “What you asked for dummy” “But you just said no?” “I was being sarcastic!” I exclaimed, moving toward him and slightly pushing him. “Well I didn’t know that!” Tommy exclaimed, pushing me back. “Hey! Hey! Hey! Stop pushing each other.” Wilbur demanded, “Just say thank you and move on Tommy.” Tommy huffed but said, “Thank you Y/N.” “You’re welcome Tommy.”

“So is this how you four interact all the time?” Dream questioned, moving closer to the two of us. I let out a laugh and turned to the masked man, “Yeah. Pretty much. Sometimes we get along, but sometimes they get on my nerves.” I informed the man, while playfully glaring at

A Hairy Situation: I had a lot of trouble coming up with a cool title for “a Hairy Situation” . It almost was like “Braided Together” or something like that but I was like, it’s about hair. It’s a situation. It’s a Hairy Situation.

Either Lean on Me or 3am conversation I don’t remember: Tommy did something. He did something bad” Tubbo admitted. I nodded to show the young man I was listening to, “Okay,” I prompted. “Tommy was messing around and he accidentally set George’s house on fire.” My eyes widened at Tubbo’s words. “His new house?” I asked in disbelief. Tubbo nodded, staring into his cup. “Dream is pissed.” He continued. “He gave me an ultimatum. He said that either we go to war or…” Tubbo’s words died on his tongue. “Or what?” I asked, attempting to gently prompt the boy. “What’s the other option Tubbo?” “Or exile Tommy.” His words hit me like a ton of bricks.

Missing You: This fic was almost titled “Radio silence” and was almost irl and was about the day that he got that prank pulled on him where everyone in his Discord was muted and not talking to him. And I almost wrote it so you’re in that call and you are participating in the prank and he just guilt trips you so hard that you unmute and are like “I’m so sorry!”

Better Than a Dedicated Chicken was almost titled “A Funtime Festival”. But then I was like, ‘I hate that. Since it’s a sequel I want to keep a theme… Maybe something about dedication.’ and thus this was born.

Faking Happy- I almost left it on the sad ending where Sam flies away using his trident and you collapse and sob by yourself in the rain. And then I added more to it because I was sad.

Protect You was almost titled “Looking out for you” but I thought that might be too clunky and so I shorten it and stuff.

Wither or Not almost ended without the whole ‘techno goes to your house to comfort you’ scene at the end and almost ended in angst, but I was too sad to do that because I knew the next Techno piece I was writing was going to end in angst.

Not Your Fault almost was going to be a different story completely than what it became. I thought a lot about how to do it but the ways I wanted to write it and the way the anon who requested it probably wanted it but I couldn’t make the prompts fit well in the way I wanted to write it. I thought about having you be on a bridge drinking alone because you had to exile your brothers and Schlatt approaches you there and you’re like “leave me alone. I hate you” and he’s like “no you don’t” and it’s a bit angsty, but then I couldn’t figure out how to fit “I had to see you again in that”. And then I thought about having him exile you and come and see you with a “I had to see you again” but then he would know where pogtopia is and we can’t have that. So then I thought maybe you’d visit him before he gets killed but then I couldn’t figure out how to fit the prompts that way either. So I finally settled on what it became.

Chat’s a Snitch was almost titled “My New Boyfriend’s a Songwriter” and instead of being in established relationship, him seeing you sing his song would be how you two meet and he would fall in love with you and write you a song, but then that wouldn’t have really been what the request was and I didn’t want to deviate that much from the request and I think I was feeling a bit lazy that day so I wrote what it is.

Defending Family was another one I had a hard time coming up with a cool and clever title for. At one point I considered titling it “i will physically fight you”

Crossed Lines was almost called “Hold tight” because I had this idea that maybe when Dream kidnapped you he put you somewhere high and at once point you dangle over the edge, about to fall and so they scream ‘hold tight’ and yeah. I decided not to though because I wasn’t sure how I would go about putting the reader there and getting them down. But once I wrote it due to the amount of times I said “that’s crossing a line” I decided to title it crossed lines. I think this piece is actually one of my least favorites because I’m not sure if I liked how it turned out but idk man.

Totem Troubles was almost called “To Hell and Back” because in the request they wanted me to include hints of the story of Orpheus and Euridice but when I was unable to do that, I had to come up with a new title and I really had a hard time with that.

The Next Step was almost called “Come Live with Me” because I loved the musical ‘Hadestown’. At first I wanted that particular imagine to have more Techno/reader scenes, but then I had a hard time figuring out how to bring up the things and then it felt too short. Then I was like “What if he just talks to Phil about it” and boom it was written. I’m still a huge musical nerd so I titled it “The Next Step” because in a Beetlejuice song two of the main characters are thinking of making a huge step in their relationship and that line is repeated over and over so I stole it…. :). Also for this one I had to literally just take a step back and write out a full ass summary because I was having really really bad writer’s block because I had no idea what I was doing. Unfortunately I don’t have that, I wish I did because it was really funny because it was a summary of the story but it was like “And so Philza’s like bro. Dude. Just tell them” and then Techno’s like “No dad. Stay out of my business” and Philza’s like “Bro. Look around at your house. You love them”

Warming Up didn’t become the title of that piece until the very end. When I read requests I always give them a ‘working title’ that may or may no become the real title when they’re finished and ready to be posted. This one however had a title that was just a joke for myself. It was titled “The Weasel” because Y/N was weaseling her way into Techno’s home and then later his heart.

Calling Philza Dad Drabble: When you greet him though, you always greet him with a hug usually calling out from the door way, “Dad! I’m home!” Very cheesy like. And he comes around the corner and you two hug. And then after you hug, you are like “I missed you!!!” to Phil. And Phil touches his heart and is like, “That’s so nice to hear.

So you usually come over everyday. Everyday when you come over, you always shout out, “Dad! I’m home!” And he rushes out but there are days you don’t and so the next time you d

There was a time though that you had to go out of town for like a week and so you didn’t come over at all and both Techno and Philza found themselves missing you. So the day comes where you get home and you come barreling in the door. You can see Philza in the kitchen cooking something and he quickly turns to the door in shock. You simply grin at him and shout, “DAD! I’M HOME!!!” And he immediately rushed out of the kitchen and pulls you into a great big, warm hug which you instantly returned. “I missed you so so so much!” You announced as you squeeze him tightly.

Warming up working description: Y/N is dying in the snow and Philza’s like “We gotta save them!” and Techno’s like “Why is that our problem?” but helps anyway and then falls in love with Y/N…. Ya know, cliches and shit

I hope you enjoyed reading this monstrosity! Would this be something you guys are interested in seeing? Like a behind the scenes version of my writing. Like I save things like this when I write them and when I have a good chuck I post them? Up to you guys, let me know!

#mcyt #mcyt imagine #what could have been #what almost was #ray rambles #700 friend special #behind the scene #behind the scenes #ray #ray ray writings #ray is so thankful for her amazing friends #that's you #you're their friend #<3

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tarry-a-lot · 4 years

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Howdy, JCS 2018 live review

Jesus Christ 2018! What a blast this will be probably longer then the other two I wrote out (which I also may have privated because last week my nerves were really bad and I started panicking and overthinking so.. yeah not sure if I’ll repost them, honestly probably won’t)

Note: I have only watched JCS 2000 and 2012 arena and have yet to watch the 70′s movie. I’ve also watched each version with my dad because I’m currently home with my parents and he was the on that got me into JCS (he was only familiar with the 70′s movie before this).

So I have to say right off the bat, why did no one tell me how pretty the stage is? Like damn it’s like an abandoned church being worked on for renovation or something, stage was probably one of my dad and I’s favourite part, I liked 2012 stage a lot but I think 2018 has to be my favourite (not to say the others were worse just personal preference)

I would say my one major complaint I have for this version is direction. Everything else like the choreography and staging was really impressive and well done but I just felt they didn’t give enough focus and development of Jesus and Judas’ relationship. Like blood money felt so sudden despite it being in the same place as any other production. I mean this is not new, I personally find quite a few productions sometimes lose Judas until blood money setting up for the betrayal. Like maybe because of it being a live show they couldn’t fit extra scenes like the 2000 ver. which is completely understandable, so it would have been more up to the actors really bringing it for the scenes they were together, I think Dixon did a wonderful job but I find Legend was a bit lacking (not really a complaint, he’s not an actor so I was pleased with what he did despite it not being his specialty) resulting in me not feeling as sad as I could have been for Judas during his death/damned for all time.

Rather than bullets I’ll split it by character (sorry for the paragraphs I just have a lot of thoughts)

Jesus: Not the best actor but honestly John Legend seems like such a nice man and his face just exudes soft and gentle so he pretty much already has the traits someone would associate with Jesus so no major complaints there. He also is famous so it added to the star factor of Jesus when the crowd is hyped for his appearance, honestly the crowd’s excitement throughout the show was wonderful. His singing style is so pretty and really suits the songs. I do think the belting or lack of belting was definitely a weak point; it seemed like his falsetto notes were a bit off which makes me believe perhaps it wasn’t the best day vocally for him, which sucks but you know that’s natural and it happens. While some notes weren’t the best I was still very impressed how he kept going without any major falters, like gethsemane? he must have known the notes were going to be questionable, for throughout act 1 he was already struggling, but Legend kept going and made, in my opinion, quite smart decisions for how he was going to sing the song. He didn’t do the first signature high note at “why” which may have been disappointing to some but I think if he knew he would struggle with the note that day it would have weakened the impact of the song more if he went for the high note and failed, also other actor’s have also not done that note in the past and still have a wonderful gethsemane (example being Evan Tyrone Martin who did one of my favourite versions of gethsemane). Instead of the high note for “why” Legend saves it for the later part of the song which is more emotional so honestly you could mask a more wispy high notes as emotions rather than lack of ability/an off singing day. Also one final thing, him going down for the last line I also thought was a great choice for him because it’s always best to end strong. One thing about acting, I wish the director told Legend to express more with his hands and body rather than just his shoulders and neck/head. While the high emotion parts weren’t the best acted, I appreciate Legend’s effort and overall thought he was an enjoyable Jesus, he is such a soft Jesus.

Judas: Dixon is so talented what the hell? His heaven on their minds is more subdued then I'm used to it being but it makes sense to his interpretation of Judas who I find more calm but frustrated while others like Minchin and Pradon had more of a panicked and scared side to them, both versions I think work. Dixon’s Judas’ death is one of my favourite versions singing wise, staging was minimal but Dixon’s acting was great so it was actually nice just to focus on him. It’s tv so the death was a bit anticlimactic the falling ladder was meh but again it’s tv not their fault. Wish he had more interaction with Jesus but not Dixon’s fault. Dixon is just so talented and wow, a great Judas.

Mary M.: A SOft, sweet Mary, really suits Legend’s Jesus and I also liked how she was nice to Judas despite him being a bit of a prick to her. I liked her dress and her singing suited the songs really well. Not the most emotional in her singing though she did show emotion in her face, but I'm not that mad I thought overall she was lovely, I would listen more to Bareilles Mary M.

Peter: A soft looking boi, why are so many of the characters soft in this version? He has a lovely voice and sounded nice with Mary on Could we start again. I liked how he really exuded this kind of young excitement and I liked his interactions with the other disciples in the background.

Simon: A soft punk boi? Nothing against the actor, just against the director but the Simon Zealotes song staging was weird, like choreography was fine but it was more like Simon’s concert time rather than Simon trying to start a riot. While that scene wasn't the best executed in my opinion I thought he still was a lovely Simon. I really liked him spray painting Jesus’ name at the start if my memory serves me correctly. Despite his more punk look he still was hugging everyone and seemed so sweet but like also strangely violence loving which I think suits Simon so overall really liked this aggressive but sweet Simon.

Pontius Pilate: Honestly I think my dad and I have just a love for an extra Pontius Pilate, because we really liked the 2000 interpretation but this version was also great. He’s not as good of singer as the 2000 version but his acting was wonderful and such a joy to watch. Also you’d think his costume wouldn’t work because it’s strangely tacky but it looks so good on him for some reason?

Herod: He’s literally Alice Cooper. Could have been a bit flashier but still fun. The acting and singing wasn’t the best version I’ve seen but I think the star power and general vibe of Alice Cooper is kind of enough to carry the scene enough, the crowd’s excitement really helped the scene in my opinion. I really liked Alice Cooper just having fun with the applause at the end.

Caiaphas and Annas: For some reason my dad really loved Annas in this version, like whenever he came on my dad was just super hyped but hey he was a great Annas. Also those costumes!!!??! wow just wow, they look so cool!!!! Not my favourite Caiaphas but I’m a sucker for Norm Lewis so I was just happy to see him. I really liked how in Hosanna Caiaphas is on the same level as Jesus and the disciples and sings directly to them eye to eye, which gave off more the vibe that Caiaphas is not stopping them because he’s some leader looking down at them and trying to crush them but more someone of the same community trying to bring an end to a disturbance that is concerning to him.

Ensemble: All so talented, I only really knew Heath Saunders and Mykal Kilgore but it was fun seeing them in the background. I kept pointing them out whenever they appeared because I was excited. Like I said before I liked how the disciples seemed to get along and hug each other a lot. I also really loved the trio during “Superstar” with the silver dresses, I really liked how they even added silver to their hair, they were lovely and really pretty. Also the musicians coming on the stage and the guitarist on the scaffolding were great!! really added to the show

Overall, I really liked this version, but my favourite part was the set change during the crucifixion. To preface this I have been very fortunate to watch both Hadestown and Phantom of the Opera before, and during Hadestown, while I cried due to plot stuff, one of the reasons I cried was at the end of act 1 there are these swinging lamps and the set grows/parts and I cried because it was so pretty and just wow. During Phantom the only times I cried was the opening overture where the chandelier is revealed and when they descend to the Phantom lair for the first time and the stairs appear and disappear from the wall and the whole boat thing. What I’m trying to say is I love sets moving and beautiful imagery created by sets, I just really like sets okay. So at the end when John Legend is on the cross and it starts to get raised I first thought, are they just going to lift him up and away because uhh... ?? BUT THEN THE F*CKING WALLS SPLIT AND THE GAPS CREATE A CROSS LIKE THE F*CK I CAN’T AHHHHHHHHHHHHH YOU DON’T UNDERTSAND HOW EXCITED I WAS MY MIND WAS BLOWN I LOVED IT SO MUCH!!!!!! (does it really matter that i censored this? not really, just feels weird to just write out f word despite using it a lot)

it really reminded me of Tando Ando’s Church of Light, really exciting stuff

haha that’s all, I really liked this version and just A+ overall

#jcs #jesus christ superstar #jcs 2018 #ramblings

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kenzierose53 · 4 years

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Promises (xxiii)

Hello everyone! I tried so hard to work on this last night but I kept getting distracted. It wasn’t as long as I wanted it to be which ANNOYS me but I couldn’t think of what else to do in this chapter.

- MaKenzie ❤️

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ORPEHUS

I couldn’t wrap my mind around her words, not wanting to believe they are true. My mother? There is no way she hit my Eurydice. I know that she doesn’t “approve” of Eurydice but I never thought she would go as far as to harm her. If there was even a fraction of forgiveness for her inside of me that was long gone now.

Coming home and seeing her curled up in the bed sobbing broke my heart. I was out getting supplies for the shop for Hermes and I came home to see the bar in commotion. When I couldn’t find her among the commotion I panicked fearing something happened to her. My fear was only doubled when I saw her sobbing on our bed.

I thought that sight was the worst thing I have seen but seeing her swollen, slightly bruised cheek was the worst thing I have ever seen. The discoloration of her cheek, the broken look in her eyes…it sent me over the edge. I wasn’t there to protect her…protect her from my own mother!

Everything inside of me was begging to go find that woman and tell her that I never wanted to see her again but the crumpled woman in my lap kept me grounded. Right now, she needs me more than anything, to care for her, to fix her. Her sobs had calmed to silent tears falling from her eyes. I remained quiet, unsure of what to say, what to do, at this moment. Here in my arms was the love of my life who had just been attacked by the woman who gave birth to me. How do you react in a situation like this?

“Orpheus?” I barely heard her voice. She sounded broken, tired. I leaned down, grazing my lips on her forehead letting her know I am listening. “Am I good enough for you?” she choked out with a sob.

Is she kidding me? This perfect woman in my arms was asking if she was good enough for me? “If anyone is not good enough it’s me,” I mumbled into her hair.

Her head shook underneath me causing me to pull away look at her. “Orpheus you are the most wonderful man in the world. You brought the world back into tune, you charm every person you meet, you love me regardless of my issues…you’re pure and I’m not. I’m not good enough for you,” the look of fear in her eyes shot fear into my heart. Where is this coming from? Did my mother say this to her?

“Was this because of my mother?” I tried to keep my voice calm but the thought of her listening to my mother’s verbal assault made me angry. Her eyes cast down no longer meeting my gaze. “Regardless of whether or not this is because of my mother…you and I are made for each other,” this caught her attention, she raised her head to meet my gaze again. I leaned down connecting our foreheads. “The moment I saw you I knew you were going to be my wife. Everything inside of me was screamed to love you, to make you happy,” a small smile appeared on her beautiful face.

“You talk about all of these great things I have done…but I couldn’t have done them without you. You’re my muse, my love, my life. Without you I am nothing.” A silent tear slipped from her eye, my thumb brushing it away. “Eurydice, you are my future and we have such a bright one. We are going to make it through all of our issues because we have each other. As for if you’re good enough for me? You’re perfect for me,” I almost didn’t get the chance to finish, her lips attacking mine. “I love you,” I mumbled between kisses.

Her smile let me know she heard me. Our worries melted away in this kiss, all that mattered was each other. She pulled us back to lay flat on the bed, me hovering above her. Her delicate hands trailed down my torso until they reached the edge of my shirt. I shivered when she ran her hands up my torso, pulling my shirt with her.

Our kiss only breaking when my shirt came over my head. I paused admiring the beauty beneath me, her breathing was heavy, cheeks flushed, eyes sparkling. She cut my admiration short by pulling me closer to her. We lost ourselves in a tangle of sheets and passion.

I was content watching her sleeping figure next to me. My fingers brushed very lightly over the bruised cheek still angry at what happened. I had lost myself in her causing myself to momentarily forget about the mark. All I wanted to do was kiss away the pain but I couldn’t I wonder if this is how she felt when I was beaten in Hadestown?

Placing a gentle kiss on her forehead I pulled myself out of bed quickly dressing. I needed to speak to Hermes about what happened today, why this happened. He was working at the bar when I made my way down. “Is she okay?” his rich voice was full of concern. Silently I nodded and took a seat across from him, “Good, I was really worried about her. She went down hard,” his voice was distant, his gaze moving towards the floor where I am assuming she went down.

“What happened,” I kept the anger at bay the best I could.

Hermes' eyes snapped up to me, “I was in the office doing some bill to keep this place going. It was a normal quiet afternoon; nothing was really going on. All of a sudden I heard some shouting. I dropped everything I was doing and saw your mother at the bar top with Eurydice. Your mother was just laying into poor Eurydice and she tried so hard to be professional. I knew Eurydice would snap sooner or later if I didn’t get over there quick enough. By the time I made it over there, it was too late. Calliope had reached across the bar top and slapped Eurydice,” his voice started to trail.

“She fell hard…the few people rushed to her rescue, her protection. Your mother was yelling about something but I couldn’t focus on what was going on around us. Protecting the girl who had become my family was more important. I helped her to the stairs, I got her to safety,” Hermes' voice was slightly shaky at the end.

I reached over placing a hand on his shoulder “Thank you,” he gave me a smile at this. Knowing that Eurydice meant so much to not only myself but my family reassures me in my love for her. Not that I ever doubted our love but my family is important to me and now Eurydice was a part of my family forever. “I think I found the one, Mr. Hermes,” my voice picked up.

He set down the rag he held in his hand, the smile doubling on his face. “Do you now son?” his tone was bright, cheery.

Over the past few weeks, I have been searching for a gift for Eurydice, something to show her I was ready for our future together. And even though our apartment has brought us many good memories I think it’s time we get our own house. I wanted us to have our place, our own space, something that was ours. If we have our own house…we can start a family of our own.

I have been searching high and low for the perfect place for us. The money that I had saved over the past year was enough to put a down payment on a house. I told Hermes what I had planned and he supported me greatly, telling me that I had found the perfect girl.

“When are you going to tell her” This thought was something I had been debating for a while. I wasn’t sure when to tell her that I have been house hunting without. Even though I found the perfect home for us, one I am sure she will love too, I was still nervous that she would angry with me. “You know she is going to love it, right?” his tone was teasing, him knowing all of the thoughts going on in my mind.

“After everything she has been through I don’t know if telling her I bought a house without her knowledge would be a good idea tonight,” I could already picture her going on a rant about not being consulted and all sorts of stuff. Imagining her flustered state while she paces around naming all of the things that could go wrong brought a small smile to my face. She is cute when she gets flustered.

“When do you get the keys?” Without answering I pulled the bronze key from my pocket. Hermes smiled at the tiny object. “You’re all grown up,” there was a slight sadness to his tone. “It feels like just yesterday you were running around the bar singing your songs to anyone who would hear, now you’ve bought a house with the woman you love. Where did the time go?” I couldn’t fight the blush that crept onto my cheeks. The look of pride and pure joy on his face heating my cheeks. “I’m proud of you boy.”

Those few words made me feel like I was on top of the world. This god was proud of me, a mere mortal. This man raised me to be who I am today, made me be who I am. He was my family. My life felt complete…except for one thing. My gaze dropped to my ringless finger picturing a ring there someday. While Eurydice and I, and well really everyone, consider us married I want it to be official. I picture her walking towards me, our proclamation of love, a simple band on our fingers signifying our promise to love each other forever.

While the band was just a materialistic thing that was nothing more than a piece of jewelry, the promise that came with…that’s what I wanted. I already promised her I would love her till the end time, walk with her through everything. Even though we promised each other everything already I wanted to show her that I meant it, that I can provide for her and our future.

“That can come next,” Hermes' voice broke me from my thoughts of seeing Eurydice in white. I have talked to him about my dreams of officially wedding her and he told me that she was perfect. “Why don’t you take the rest of the night taking care of your girl?” the sly smile on Hermes' face had me questioning him. “From what I heard you’ve already done that a little bit,” my eyes widened, a raging blush covering my face.

Not wanting this moment to continue any longer, I pushed myself off the barstool. Hermes laugh only caused the blush to darken as I rushed up the stairs. Carefully I opened up the door not wanting to wake my sleeping beauty. I went to grab a glass of water for her to have when she woke up but it slipped from my hands at the sight in front of me.

Eurydice was shaking uncontrollably on the floor. The look in her eyes was manic, full of fear and pain. Her chest was rising and falling at a rapid pace, breath coming out and short gasps. Quickly I rushed over to her side forgetting the broken glass. She flinched back away from me, curling more into herself. Those delicate hands flying up to cover her ears, head shaking violently.

#promises #hadestown fan fiction #hadestown fanfic #hadestown fic #hadestown Broadway #hadestown #orpheus #eurydice #orphydice #orpheus and eurydice #hades #hermes #persephone

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way-down-meme-town · 4 years

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Hadestown Act II Sentence Meme

Under the cut you will find 179 lyrics from the musical Hadestown to use for your roleplaying purposes! Have fun!

Our Lady of the Underground 1. “I don’t know about you, boys, but if you’re like me then hanging around this manhole is bringing you down.”

2. “Cabin fever is a-settin’ in. You’re stir crazy.”

3. “I can give you what it is you crave, a little something from the good old days.”

4. “I got the wind right here in a jar.”

5. “I got the rain on tap at the bar.”

6. “I got sunshine up on the shelf.”

7. “Our lady of the underground!”

8. “Wanna know my name? I’ll tell you my name.”

9. “Let me guess, it’s the little things you miss.”

10. “Maybe you’re looking for some stronger stuff.”

11. “I got a sight for the sorest eye. When was the last time you saw the sky?”

12. “Wipe away your tears. I know how you feel. I can see you’re blinded by the sadness of it all.”

13. “Look a little closer and there’s a crack in the wall.”

14. “You want the moon? Yeah, I got her too.”

15. “A little moonshine ain’t no sin.”

16. “Tell my husband to take his time!”

17. “What the boss don’t know, the boss don’t mind.”

Way Down Hadestown (Reprise) 18. “The deal is signed?”

19. “I did what I had to do.”

20. “They cane hear, but they don’t care.”

21. “No one has a name down here.”

22. “They can look but they don’t see.”

23. “Your eyes will look that way someday.”

24. “You kissed your little life goodbye.”

25. “Hades laid his hands on you and gave you everlasting life.”

26. “Your place on the assembly line replaces all your memories.”

27. “What do you mean I’ll look like that?”

28. “That’s what it looks like to forget.”

29. “You see, it’s like I said before. A lot can happen behind closed doors.”

30. “A lot of souls have gotta die.”

31. “A lot of spirits gotta break, to make the underworld go round.”

Flowers 32. “What I wanted was to fall asleep, close my eyes, and disappear like a petal on a stream, a feather on the air.”

33. “I trembled when he laid me out. You won’t feel a thing he said, when you go down.”

34. “Nothing gonna wake you now.”

35. “Dreams are sweet, until they’re not.”

36. “Men are kind, until they aren’t.”

37. “Flowers bloom until they rot and fall apart.”

38. “Is anybody listening? I open my mouth and nothing comes out.”

39. “Flowers. I remember fields of flowers.”

40. “I remember someone by my side, turned his face to mine, and then I turned away into the shade.”

41. “You, the one I left behind, if you ever walk this way, come and find me lying in the bed I made.”

Come Home With Me (Reprise) 42. “I called your name before.”

43. “Whatever happened, I’m to blame.”

44. “How’d you get beyond the wall?”

45. “I sang a song so beautiful stones wept and they let me in. I can sing us home again.”

Papers (Intro) 46. “I don’t’ think we’ve met before. You’re not from around here, son.”

47. “Don’t know who the hell you are, but I can tell you don’t belong.”

48. “Go back to where you came from. You’re on the wrong side of the fence.”

49. “This poor boy raised up his voice with his heart out on his sleeve.”

50. “I’m not goin’ back alone. I came to take her home!”

51. “Who the hell do you think you are? Who the hell you think you’re talkin’ to?”

52. “She couldn’t go anywhere even if she wanted to.”

53. “You’re not from around here, son. If you were, then you would know that everything and everyone in Hadestown I own.”

54. “I only buy what others choose to sell.”

55. “You didn’t know? She signed the deal herself and now she belongs to me.”

56. “Everybody gather round! Everybody look and see what becomes of trespassers with no respect for property.”

Nothing Changes 57. “Why the struggle? Why the strain?”

58. “Why make trouble? Why make scenes?”

59. “Why go against the grain, why swim upstream?”

60. “It ain’t no use. You’re bound to lose.”

61. “What’s the purpose of a man? Just to turn his eyes away?”

62. “What’s the use of his backbone if he never stands upright?”

63. “Who are they to say what the truth is anyway?”

64. “The ones who tell the lies are the solemnest to swear.”

65. “The ones who load the dice always say the toss is fair.”

66. “The ones who deal the cards are the ones who take the tricks with their hands over their hearts while we play the game they fix.”

67. “The ones who speak the words always say it is the last.”

68. “No answer will be heard to the question no one asks.”

69. “I believe our answer matters more than anything they say.”

70. “I believe if there is still a will, then there is still a way.”

71. “I believe in us together more than anyone alone.”

72. “I believe that with each other, we are stronger than we know.”

73. “I believe that we are many. I believe that they are few, and it isn’t for the few to tell the many what is true.”

74. “Is it true? Is it true what they say?”

How Long 75. “What are you afraid of? He’s just a boy in love.”

76. “Have a drink, why don’t you?”

77. “I’ve had enough. He loves that girl!”

78. “He has the kind of love for her that you and I once had.”

79. “The girl means nothing ot me.”

80. “All of the sorrow won’t fit in his chest. It just burns like a fire in the pit of his chest.”

81. “Nothing comes of wishing on stars.”

82. “Nothing comes of the songs people sing, however sorry they are.”

83. “Give them a piece, they’ll take it all.”

84. “Show them a crack, they’ll tear down the wall.”

85. “Lend them an ear and the kingdom will fall.”

86. “The kingdom will fall for a song.”

87. “What does he care for the logic of kings? The laws of your underworld?”

88. “It is only for love that he sings.”

89. “He sings for the love of a girl.”

90. “You and your pity don’t fit in my bed.”

91. “How long? Just as long as I am your wife.”

92. “It’s true the earth must die, but then the earth comes back to life and the sun must go on rising.”

Chant (Reprise) 93. “Why do we turn away when our brother is bleeding?”

94. “Why do we build the wall and then call it freedom?”

95. “If we’re free, tell me why I can’t look in my brothers eye?”

96. “Young man, got to hand it to you. Guess you don’t scare easy, do ya?”

97. “It seems your song made quite a strong impression on my wife.”

98. “It takes more than singin’ songs to keep a woman in your arms.”

99. “Take it from a man no longer young if you want to hold a woman, hang a chain around her throat made of many carat gold.”

100. “If I raise my head, could I change my fate?”

101. “If I raise my voice, could I change the way it is?”

102. “Why do we turn away instead of standing with him?”

103. “Why are we digging our own graves for a living?”

104. “If we’re free, tell me why we can’t even stand upright?”

105. “If we’re free, tell me when we can stand with our fellow man?”

106. “Young man, I was young once too. Sang a song of love like you.”

107. “I too was left behind, turned on one too many times. Now I sing a different song.”

108. “You hear that heavy metal sound? The symphony of Hadestown.”

109. “Young man you can sing your ditty. I conduct the electric city.”

110. “Give me one more song before I send you to the great beyond where nobody can hear you singing.”

111. “Sing a song for me.”

112. “Make the king feel young again. Sing for an old man.”

Epic III 113. “I know how it was because he was like me, a man in love with a woman.”

114. “You didn’t know how and you didn’t know why, but you know what you wanted to take her home.”

115. “You saw her alone there, against the sky. It was like she was someone you’d always known.”

116. “It was like you were holding the world when you held her, like yours were the arms that the whole world was in.”

117. “There were no words for the way that you felt so you opened your mouth and you started to sing.”

118. “What has become of the heart of that man now that the man is king?”

119. “What has become of the heart of that man now that he has everything?”

120. “The more he has, the more he holds. The greater the weight of the world on his shoulders.”

121. “See how he labors beneath the load? Afraid to look up and afraid to let go.”

122. “He’s grown so afraid that he’ll lose what he owns, but what he doesn’t know is that what he’s defending is already gone.”

123. “Where is the treasure inside of your chest?”

124. “Where is the man with his arms outstretched to the woman he loves with nothing to lose?”

Epic III 125. “This poor boy brought the world back into tune is what he did.”

Promises 126. “You take me home with you! Let’s go! Let’s go right now!”

127. “It’s a long road. It’s a long walk back into the cold and dark. Are you sure you wanna go?”

128. “I have no ring for your finger.”

129. “I have no bouquet table to lay.”

130. “I have no bed of feathers.”

131. “I can’t promise you fair sky above, can’t promise you kind road below, but I’ll walk beside you, love.”

132. “Don’t need no ring for my finger, just need a steady hand to hold.”

133. “Don’t promise me fair sky above. Don’t promise me kind road below. Just walk beside me, love.”

134. “He’ll let us go. Look at him, he can’t say no.”

135. “I don’t know where this road will end, but I’ll walk it with you hand in hand.”

Word to the Wise 136. “Damned if you don’t, damned if you do. Whole damn nation’s watching you.”

137. “Men are fools, men are frail. Give them the rope and they’ll hang themselves.”

His Kiss, The Riot 138. “With his kiss, the riot starts.”

139. “All my children came here poor, clamoring for bed and board. Now what do they clamor for? Freedom.”

140. “Have I made myself their lord just to fall upon the sword of some paupers minor chord?”

141. “Who will lead them? Who lays all our best-laid plans?”

142. “Who makes work for idle hands?”

143. “Only one thing to be done, let them go but let there be some term to be agreed upon, some condition.”

144. “Every coward seems courageous in the safety of a crowd.”

145. “Bravery can be contagious when the band is playing loud.”

146. “Nothing makes a man so bold as a woman’s smile and a hand to hold.”

Wait For Me (Reprise, Intro) 147. “Well, the good news is he said that you can go.”

148. “You can walk, but it won’t be like you planned.”

149. “It’s a trial. Do you trust each other? Do you trust yourselves?”

150. “If you want to walk out of hell, you’re gonna have to prove it before gods and men.”

Wait For Me (Reprise) 151. “The dog you really got to dread is the one that howl inside your head. It’s him whose howling drives men mad and a mind to its undoing.”

152. “Show the way so we can see.”

153. “Show the way the world could be.”

154. “If you can do it, so can she. If she can do it, so can we.”

155. “How about you and I? Are we gonna try again?”

156. “Who are you to lead her? Who are you to lead them?”

157. “Who are you to think that you can hold your head up higher than your fellow man?”

158. “Between your ears, behind your eyes, that is the path to Paradise. Likewise, the road to ruin.”

Doubt Comes In 159. “Doubt comes in. The wind is changing.”

160. “Who am I? Where do I think I’m going?”

161. “Doubt comes in.”

162. “Who am I to think that she would follow me into the cold and dark again?”

163. “Are you listening? I am right here and I will be to the end.”

164. “The coldest night of the coldest year comes right before the spring.”

165. “Who am I against him?”

166. “Why would he let me win?”

167. “Who am I to think that he wouldn’t deceive me just to make me leave alone?”

168. “Is this a trap that’s being laid for me?”

169. “Is this a trick that’s being played on me?”

170. “I used to see the way the world could be, but now the way it is is all I see.”

171. “You are not alone. I am right behind you and I have been all along.”

Road to Hell (Reprise) 172. “It’s an old song and this is how it ends.”

173. “Here’s the thing. To know how it ends and still begin to sing it again, as if it might turn out this time, I learned that from a friend of mine.”

174. “It’s a sad song, but we keep singing even so.”

We Raise Our Cup 175. “Pour the wine and raise a cup.”

176. “Some birds sing when the sun shines bright, our praise is not for them, but the ones who sing in the dead of night. We raise our cups to them.”

177. “Wherever he is wandering alone upon the earth, let all our singing follow him and bring him comfort.”

178. “Some flowers bloom where the green grass grows, our praise is not for them, but the ones who bloom in the bitter snow.”

179. “We raise ‘em high and drink ‘em dry.”

#ask meme #rp meme #sentence meme #musical meme #hadestown #hadestown act ii

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victoriousscarf · 4 years

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1, 2, 7, 9, 18 for the writing meme

1. What themes would you like to write about that you feel don’t get explored very often?

I mean... I’m very obsessed with duty vs desire as a main conflict to the point where everytime I see it I end up banshee screaming but I also know I do see it from time to time. I also really love messiah/disciple issues, and again, while those exist I don’t think they often exist in the way I WANT them too outside of some very good poems. And also weirdly it’s something I haven’t written much myself.

2. What are some common elements of stories you are tired of seeing? What would you avoid writing about?

Nihilism passing as tragedy? Listen, I’m all for a good tragedy. I love a good tragedy! I’ll write dozens (and I have). But tragedy is not the same as just full on the world is terrible and nothing good ever wins nihilism. Tragedy is cathartic. It’s teaching. It’s hope found in the midst of despair. Like (and I know you won’t mind me quoting Hadestown here):

It's a tragedy It's a sad song But we sing it anyway

'Cause here’s the thing To know how it ends And still begin to sing it again As if it might turn out this time I learned that from a friend of mine

See, Orpheus was a poor boy...But he had a gift to give...

He could make you see how the world could be In spite of the way that it is

Can you see it? Can you hear it? Can you feel it like a train?

That’s a good tragedy! But a lot of stories these days are just nihilism. So screw that.

7. Favorite description in your wip? (If asked more than once, respond with a new piece each time)

... it does not exist lol. Does indicating the royal court’s reaction to scandal through how many fans are out at a time count as a description I can love???

9. What scene was the hardest to write for you and why?

I can’t think of any off the top of my head specifically but usually it’s bridging scenes that are the worst for me. Like when I need to get characters from point a to point b but I don’t actually give a shit of how they get there? But I need to explain HOW or WHY they got there? It’s not always physical, it might even be an emotional bridging scene.

18. What writers have inspired you with their use of language? What are some of your favorite quotes?

I feel like this needs to be two separate questions lol. I have multiple documents just stuffed of random quotes that I used to find. These days you can usually find quotes I like under the tags “words I really like” or “english has only one word for love.”

But if pushed I’ll probably start quoting Richard Siken’s Crush: “Sorry about the blood in your mouth. I wish it was mine.

I couldn't get the boy to kill me, but I wore his jacket for the longest time.”

Authors that have inspired me with language meanwhile... Terry Pratchett, Ursula le Guin and Jane Austen spring immediately to mind, and though I despise almost all the themes and everything else about what he writes about, I love Ernest Hemingway's prose. As soon as anyone gets a little too flowery I’m always like no, no, bring it back.

Oh! and for quotes I’ve been obsessed with Robert Frost’s “stopping by woods on a snowy evening” like now and forever.

Whose woods these are I think I know. His house is in the village though; He will not see me stopping here To watch his woods fill up with snow. My little horse must think it queer To stop without a farmhouse near Between the woods and frozen lake The darkest evening of the year. He gives his harness bells a shake To ask if there is some mistake. The only other sound’s the sweep Of easy wind and downy flake. The woods are lovely, dark and deep, But I have promises to keep, And miles to go before I sleep, And miles to go before I sleep.

Bonus round: Guess how many fics I’ve named after this poem

#vs does a meme

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mrs-lockley · 4 years

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OKAY CELESTE I HAVE A LOT OF QUESTIONS: 1 & 2 for True to your Heart 9 for real people 5 & 11 for Wait for Me 👀 answer as many or as few as you want 💙

Hello Freya! 💙 I will do my best!

True to Your Heart

1: What inspired you to write the fic this way?

Tbh, I can’t quite remember anymore! I know I still have to finish the series (writer’s block bit my butt) but I remember I wanted to write a Disney AU for Poe. It’s also a bit of a shameless self-insert because Mulan is my favorite princess and I’m Asian, but also?? I think it was because one of my friends was teasing me for having a type for generals because of my childhood crush on General Li Shang, and then I remembered ... Poe is NOW a General 👀 So I thought ... why not make a Mulan AU?

2: What scene did you first put down?

I still have the outline and only have Part 1 written, but the first scene that came to my head when I created this au was BB8 as Mushu! I know BB8 is Poe’s droid, but I had this cute image of BB8 being your droid (well, technically your sister’s droid) and being sassy and looking out for you. I just thought it was very fitting, and I giggled at the thought of BB8 being protective and threatening some boys if they got too close to you while you were on base. 🙈

More under the cut!

Like Real People Do

9: Were there any alternate versions of this fic?

To be honest, there really wasn’t! This one just came clear to me; I was actually having some bad flashbacks and was listening to Hozier when this idea came to me. I started writing it and pretty much finished it in like, a day or two.

It’s another shameless self-insert, but so far, it’s been my most popular fic. I have a soft spot for it, and it’s also my first reader insert fic as well. I think I shouldn’t feel guilty about writing it if so many people like it, and sometimes when I’m sad I come back to it because wow, I can’t believe I wrote that, you know? The main goal I had in writing the fic was much like how Hozier described it; just kiss, and not ask about the skeletons until you’re ready. it’s one of my favorite Hozier songs and it’s just so soft, and I wanted to encapsulate that and the words just poured out of me.

Maybe I should listen to Hozier more when I write

Wait for Me

5: What part was hardest to write?

To be honest, all of it! I’m a perfectionist and wanted it to be perfect, I wanted it to feel like a Greek tragedy. I wanted my readers to feel the tragedy, the emotions. It took me 2 months to write it, but I poured every emotion I had into it. I was yearning, pining, and hurting while writing it. I wanted to create a vivid image to haunt people with the emotions to linger after, just like any other tragedy. I think what was most difficult for me was that we already know how the tragedy goes, but I also wanted to make it my own as well. I didn’t want it to be an exact copy of the myth, nor a copy of the Broadway play Hadestown, either. I wanted to add my own spin to it while sticking to the original source, but most importantly, I wanted it to drip with emotions and images and longing that it would haunt you for years.

11: What do you like best about this fic?

Out of my limited number of fics, I have to say next to Like Real People Do, this one is my favorite. I’m a little bummed that I put so much heart into it that it’s my lowest viewed fic (in terms of notes), because I’m actually proud with how it turned out. I poured everything into it; the emotions, the imagery, the longing.

To be honest, this one was my most strategic fic because I purposely used specific symbols and lines to foreshadow certain things.

White lilies

White lilies were mentioned several times throughout the fic, and I intentionally put it in my mooboard as well. In Hadestown, a red carnation/rose was used, but for my fic, I used white lilies for what they symbolized. White lilies are typically used in funerals to symbolize rebirth, commitment, and sympathy. Particularly from Asian cultures, I’ve always worn white to funerals because of the symbol of rebirth, and not black for mourning or sympathy.

White lilies were first mentioned when you and Llewyn visited Mike at his grave, and Llewyn placed the lilies at his grave. There, lilies symbolized death because they are a common funeral flower.

The second time white lilies were mentioned was when Llewyn found you in the Underworld in a field of lilies. There, lilies could either symbolize death, or rebirth if Llewyn were to succeed in leading you out of the Underworld. I also alluded to the song, Flowers, in Hadestown, where Eurydice was singing to Orpheus to find her in the Underworld. I used that same image of you singing to Llewyn for him to find you.

If I had wings like Norah’s dove, I’d fly the river to the one I love

This is the first instance I used to foreshadow Llewyn finding you in the Underworld when you first met him singing at the Gaslight. I also wanted to incorporate some of the original songs form the movie as well, and I think Fare Thee Well could also be used to foreshadow Llewyn bidding you goodbye in the Underworld. While you were in a field of lilies, Llewyn found you on the other side of the River Styx, and I alluded that he would “fly” the river to find you, the one he loves.

So show us a bird flying high above, life ain’t worth living without the one you love…

Another instance of foreshadowing. Here, I mentioned having wings towards the end where Llewyn was climbing out of the Underworld, wishing he had nothing but wings to pull you out. And to hint ... he couldn’t live without you.

OOP this got long, but thank you so much for sending this ask Freya 🥺 I really do appreciate it!

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cdyssey · 5 years

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Hadestown (7/14/19), Act II

The second half of my thoughts and incoherent rambling from Hadestown! Act I is here.

“Our Lady of the Underground” —

A.K.A. Again, and I cannot stress this enough, but Amber Gray is the love of my life.

She comes out with a flask in her hand, which she surreptitiously sticks into her bra, so she can dance, lololol.

Her energy and vitality are just so infectious. When she smiles, you can't help but smile. When she start giving shout-outs to the musicians, the rumble of pride in her voice echoes throughout Walter Kerr.

Hermes escorts her at the beginning of the song and then stands off to the side as she sings. He eventually gives her her bouquet of flowers, and she gives him her flask.

“There’s a crack in the WALLLLLLLLLLLLL.” She lifts her flowers into the air as bright [sun]light shines down upon her. It’s an amazing, joyous moment.

“She’s right here waiting in my pay-per-view.” Smirking, Persephone taps her noggin.

“What the boss don’t know, the boss won’t mind.” Having retrieved her flask again, she takes a sip. I got major Prohibition vibes from this line, which is to say that as far as Persephone’s character development goes, you get the sense that she’s ready to rebel against her husband to help our heroes. It’s a big leap from Orpheus’s line about how Persephone is drowning in wine and oblivion.

“Way Down Hadestown (Reprise)” —

OH, this song. THIS SONG MADE ME WEEPY.

So in this one, Eurydice comes out of Hades’s office dressed in worker clothes. She watches in horror as the company workers toil around her, repeating the refrain, “Keep your head low.”

The dichotomy between Persephone looking up at the “crack in the wall,” and the workers keeping their heads low in order to avoid trouble is incredible. Their spirits have been entirely broken, and Eurydice is up next.

She tries to get the workers to acknowledge her, but the Fates mock her for the futility of the action. They’re obviously taking glee at Eurydice’s situation.

Another incredible dichotomy: the jauntiness of “Way Down Hadestown,” which Eurydice once smiled at, and the sinister spin the reprise puts on the chorus. Hermes and Persephone did try to warn her after all.

“Hades laid his hands on you and gave you everlasting life.” HOO BOY—this subversion of religious language was INCREDIBLE.

“Flowers” —

;-;

In “Flowers,” all of the workers except for Eurydice are collapsed on the ground, exhausted and dead to the world. She’s on floor as well, the lone figure lit by light.

“I remember someone / Someone by my side / Turned his face to mine / And then I turned away.” Okay, after I stopped tearing up over these lines, I immediately started tearing up again when I realized that Eurydice doesn’t remember Orpheus’s name.

She doesn’t even know her own.

“Papers” / “Nothing Changes” / “If It’s True”

“Papers” is Hades confronting Orpheus about sneaking into Hadestown.

When Persephone tries to vouch for Orpheus and Hades tell her, “You stay out of this,” Patrick doesn’t say it as softly as he does on the OBC—he practically yells it at her, and she flinches into silence.

ALSO, GOD, Patrick’s EVIL ENERGY is wiiiiiiild in this one. I love him????

In the “Papers (Instrumental), Hades directs the workers to attack Orpheus, and they, like, beat him up. This is the scene where Timothy lifts him!!

At the end of “Papers,” Orpheus is collapsed on the ground holding his side. He stays like this through “Nothing Changes.”

“Nothing Changes” reminds me of how much the Fates sound like a choir. I love them.

Plot wise, it’s them sowing the first seeds of doubt and defeat into Orpheus’s head. While he initially overcomes their temptations, I think he’s never fully able to shake them away after this, a struggle which carries into “If It’s True.”

Ugh, another song I wish I had the OBC track to listen to for reference, but this one is largely Orpheus’s doubt and idealism warring against each other. If it’s true what the Fates and Hades are saying, he wants to leave, but he’s also not entirely ready to give up. I think this is also the one where he and Eurydice start to rouse the workers’ spirits, showing them that there is hope.

“How Long” —

I love “How Long” so, so much. It might be a contender for my favorite.

Incredible and moving and vulnerable and tragic. Hades is. Persephone is. They are.

For large parts of the song, they stand on opposite sides of the elevator, which has been lowered so it looks like a pit, a chasm—obviously symbolic of the breach that divides them.

Again, for almost the entire song, Hades never takes his eyes off Persephone, while Persephone turns her head away from him after she’s done singing her verses. I’m so tender for them.

When Hades sings, the lighting changes into a fiery amber, while when Persephone sings, the lighting dulls to a cool blue. It’s an interesting dichotomy. Hades’s makes sense because of his anger and general association with the color red, but I took the blue to symbolize Persephone’s deep sadness. It seeps from her; it pervades the stage.

Lively and joyful she may be most of the time, but deep down on the inside, Persephone is sad.

At one point, they both make it to front stage and stand side by side. Watch their shadows on the floor at this point. It’s a marvelous effect. (Also, watch the shadows on the walls and floor in general! The workers circling the platform in “Chant” especially comes to mind. The lighting in this show is INSANE.)

When they share their final verse, half of the stage is orange, and the other half is blue.

I was emo, y’all.

“Chant” (Reprise) —

In “Chant II,” Hades realizes that Orpheus is rallying his workers. He pulls a lever or something, which signals that they should get back to work, and they do for a couple of “Keep your head lows” until they go into the new refrain of asking why people turn their backs on each other.

GOD, what a joyous change. Orpheus and Eurydice’s light has given them the courage to question the system for themselves. “Why do we build a wall and then call it freedom?”

Hades grows increasingly angry throughout the reprise. You get the feeling that he’s losing control of his kingdom, and he not only knows it but fears it. He’s frantically trying to grasp onto whatever some semblance of authority he has left.

The thesis of this song is just powerful. If we raise our voices and raise our heads, we can effect change.

“I CONDUCT THE ELECTRIC CITY.” First of all, I LOVE PATRICK PAGE, AND HE ABSOLUTELY DID NOT HAVE TO GO THIS HARD, BUT HE DID BECAUSE HE’S AMAZING, AND DID I MENTION THAT I LOVE HIM??? Secondly, when he sings this line, the lights flash bright before flickering out for a couple of seconds.

While he’s counting down (1... 2... 3...), he angrily stomps down the staircase and crosses over to the side of the stage where Hermes gives him a barstool. He takes it and slams it on the ground to wait for “Epic III.”

“Epic III” —

Not 2 belabor the point, but this entire damn musical made me an emotional wreck, and “Epic III” was no exception. It was a religious experience, at once both simple and sublime.

Right before it starts, Hades slowly snaps his fingers twice in expectation.

Hades doesn't really react to the song until the moment Orpheus sings his first “la, la, las.” At those, he immediately gets up and crosses over to Orpheus, shocked and enraged, fully intending to interrupt him: “Where did you get(?) that melody?” Persephone stops him before he can do anything and implores him to let Orpheus finish.

Of course, he recognizes the melody because it used to be his and Persephone’s once upon a time.

(Hgjkahgjkskjnksjfkjhkashfkj—I was tender.)

Orpheus falters after the interruption, but Hermes, placing a hand on his shoulder, encourages him to keep going.

Anyway, REEVE CARNEY DESERVED A DAMN TONY, PART TWO.

If Hades was spellbound, then the entire theater was, too. A boy and a lyre and a song—it doesn’t seem like much, but it was quite literally everything.

Right before Hades echoes Orpheus, there’s a poignant pause in which Persephone turns to fully face him—she hadn’t quite been looking at him before.

Very softly, very gently, she extends her hands to him... and as soon as they touch, Hades finds his song again: “La la la la la la la.”

My God, I cried.

At the end of Epic III, the carnation “appears” in Hades’s hand. (Holy hell—I don’t know how he did it; it was really quite like it magically appeared.)

Persephone wipes tears from her eyes as she holds on to her husband, as they hold on to each other.

Also, this isn’t on the soundtrack, but there’s a brief instrumental between “Epic III” and “Promises” where Hades and Persephone dance. They hold each other so tenderly. Their eyes never leave each other’s faces. The flower is in Hades’s lapel.

It honest to God made me believe in love again.

“Promises” / “Word to the Wise” / “His Kiss, The Riot” —

This is awful, but unfortunately, I don’t remember that much of how “Promises” was staged. ;-; I was still being emo over Hades and Persephone because “Epic III” ruined me.

While Eurydice and Orpheus sing, they stand still on the corner of the stage holding each other, her head buried in his shoulder, and his head tucked against her neck. They don’t move. They never let each other go.

Towards the end of “Promises,” Orpheus or Eurydice one convince the other that the king will let them go now that he’s rediscovered his love again, which takes us into “Word to the Wise.”

As soon as Hades admits that he doesn’t know whether he’ll let them go, Persephone violently parts from him, repulsed that he still hasn’t made up his mind in the right direction.

Just as the Fates had teased and mocked Eurydice during “When the Chips Are Down,” they do the same to Hades here. Their impartial wickedness is so good.

“Give him a rope, and he’ll hang himself.” This advice is definitely the seed for the compromise Hades ends up giving Orpheus. Also, ooooh, fun fact: in Greek mythology, death by hanging has metaphoric resonances of extinguishing one’s voice, which, of course, is a tragedy for a poet, a singer, an artist.

And in the end, he does just as the Fates predicted, doesn’t he?

Ugh, the dark orchestration for “His Kiss, The Riot” is chilling. That accordion??? Incredible.

After the brief instrumental section, he addresses Hermes and conveys his plan to him. This is why Hermes is the one who tells Orpheus, Eurydice, and the workers what’s up in “Wait For Me (Reprise)”.

“Nothing makes a man so bold as a woman’s smile and a hand to hold.” He glances over Persephone as he sings this.

For the most part, Hades sits on his barstool for this one; it really reminded me of a Shakespearean soliloquy!

“Wait For Me (Reprise)” / “Doubt Comes In” —

The intro to the reprise is so heavy. Hermes is just weary. He knows what Hades is up to. “Divide and conquer is what it’s called.”

“It’s a trap.” / “It’s a trial.” Orpheus’s newfound skepticism really makes itself apparent in this one. He thinks the world’s out to get him, he doesn’t particularly trust himself or Eurydice anymore. The writing’s on the wall, and Hermes knows it better than anyone: “The dog you really gotta dread is the one that howls inside your head.”

Eurydice and Orpheus singing the “Wait For Me” chorus together is so unbelievably powerful. God, I don’t think there was a dry eye in the house through these last few songs.

“Show the way so we can see. Show the way the world could be.” The company repeats this refrain because they’re literally following Orpheus and Eurydice, too. ;-; I didn’t realize this until I saw it staged.

“Wait for me.” / “I will.” Hades and Persephone stare at each other and grasp hands. He gives her the carnation, and for the rest of the reprise, she holds it up—a small beacon of hope, a vivid pop of color against a woman clothed in black. Bye. I’m crying again.

And then, when Eurydice ends “Wait For Me”—JESSIE SLAYED THESE VERSES—you can see the hope and belief in her face as she begins to follow Orpheus. She has no doubt that he’ll lead her home.

The light shines bright on Eurydice one last time before the entire stage is plunged into darkness for “Doubt Comes In.”

The staging for “Doubt Comes In” is absolutely incredible. Wow. So there are rings on the stage that rotate—various characters utilize them for walking during songs, and they’re used to brilliant effect here.

Orpheus walks along the outer ring in the darkness; it’s so dark that you can’t see Eurydice and the workers behind him, which adds to the notion that he’s alone, entirely alone. When Eurydice or the workers sing, they’re briefly illuminated only to be plunged into the darkness once again.

Orpheus tries to comfort himself by singing his song, but the doubt and the darkness are too much, too overwhelming. He makes it to the final staircase, and the light signifying the outside is the most vivid location onstage.

When the final note rings out, he turns around, and there Eurydice is. She was there all along.

The elevator takes her back to Hadestown as Orpheus collapses to his knees.

“Road to Hell (Reprise)” / Ovation / “We Raise Our Cups” —

You know how I mentioned that Hermes’s footsteps were the only sounds audible at the beginning of “Road to Hell”? The same holds true here as he walks back onto stage, slowly and wearily. He’s sung this song before, but by the gods, as this song tells us, he’ll sing it again and again.

I never realized that they did this until I saw it live, but as the music ascends into a more hopeful mood, the cast members reset the stage, so that it’s almost exactly as it was at the beginning of the musical. They even go through the same scene of Eurydice entering from the cold and lighting her candle. (OH, and I meant to mention this in my Act I write up, but right after Eurydice descends to Hadestown in “Gone, I’m Gone,” Hermes blows her candle out. 😭)

When the cast lined up on the stage for the bows, the whole theater stood up and clapped for at least ten minutes. I was so overwhelmed with pride and love for every single performer on that stage, that I couldn’t help but tear up.

And then, Persephone and Eurydice sing “We Raise Our Cups.” Orpheus is the only one who doesn’t join in, watching silently as the entirety of Hadestown raises their cups to him.

To the world we dream about and the world we live in... this musical was a life-changing experience, and I’m so thankful that I could inhabit Orpheus’s world, even if just for a brief fraction of this eternity.

Stagedoor: —

This was my first stagedoor, and it was so much fun!! The cast was so lovely and nice and obliging.

My friend and I got a picture with Reeve; he’s really good at stagedoor. He took his time with everyone and made sure everyone who wanted a signature or a picture got one!

I didn’t quite know what to say to anyone because I was just so in awe of them, but I had an amazing interaction with Kay! I told her that it was really important to me to see Asian representation on Broadway, and her face lit up! I love her.

#hadestown #persephone #eurydice #orpheus #hades #broadway #reginianwrites #p: hadestown

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notesofarichlycolorednight · 5 years

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OBC Hadestown Recording Review by a Non-Professional that you didn’t ask for

Alt. click-bait title: THEMES! THEMES! THEMES!

so i just listened to the Hadestown OBCR

so as practice, i’m going to do this review (i have a lot to say if you hadn’t noticed) like a sandwich--positives, mixed, neutral, negatives, more positives

and yes, I compare it to the NY version. it would be Impossible for me not to, considering that’s all I had for years. but I did listen to it with an open mind and wide-eyed excitement

YAS QUEEN

Amber Grey and Patrick Page, lovely as always

I’m glad they introduced Hades in “Road To Hell” also that Hermes is like...is there another god? oh yeah, ME!

Eva Noblezada was AMAZING and I love her Eurydice

Reeve Carney sounds like an wide-eyed, naive, optimistic musician and it’s Wonderful

the overall themes and a more cohesive story--like there were of course themes threaded thru the NY recording, but the themes were much stronger in this version

Hermes being Orpheus’s mentor, rather than just the narrator and occasionally interacting with Orpheus bc he can? the exchange between them reads less like “I’m kind of picking on your bc you’re an artist” and more like “yikes, bro, you messed up. and bc I’m your mentor, and the god of Travelers, I’mma help you out a little”

oh yes, LOVE LOVE LOVE “Wedding Song” and oh, I LOVED that he sang his song in this version (hope to see what happens on stage some day ;_;)

the OBC version of “Livin’ it Up on Top” is still fun as always and I love they included the joke “to hell and back”

Orpheus’s lyrics in “All I’ve Ever Known” are So. Soft. our soft, poor boy Orpheus

Reeve and Eva’s voices fit together really well and I’m cry

“A Gathering Storm” is just Gorgeous storytelling right there, mmhmm. And oh shit, the “It’s not supposed to be like this” damn. And Eurydice’s “bring the world back into tune” Love it.

oh dude, the doubt in “Epic II” mirroring Orpheus’s later doubt poetictheater.jpeg

the lead in from “Epic II” to “Chant” always Great. And oh man, loved more of the storytelling and Eurydice’s lyrics in “Chant” okay but the juxtaposition of Hermes telling Orpheus telling him to look up while the Chorus chants to keep your head low oh jeez. And Eva sounds Great in “Chant” like DAMN

shaken, not stirred

Andre De Shields, sorry bro.

intellectual: I think his performance was great and the way he portrays Hermes fits really well with the style and aesthetic of Hadestown.

emotional: unfortunately, I don’t like his voice. and yes, I’m definitely biased for NY Hermes, but this is like a personal preference type thing. his voice is like the opposite of a stim for me... :\ which is unfortunate, because I did enjoy his performance

“Road To Hell” is before “Any Way The Wind Blows”

intellectual: it definitely fits this version, and I really liked hearing more about Eurydice and understanding her struggles and why falling in love with Orpheus is such a big thing for her

emotional: but I kinda liked the order in the NY version. it kinda felt like a preface to the story itself, and like even tho Hermes is the narrator, beginning with a song the Fates sing, it shows who’s truly in charge (they DO in fact control the speed at which lobsters die)

tho if I’m being honest, “Livin’ it Up on Top” doesn’t quite have that kick the NY version has. idk if instruments or missing or there isn’t enough ppl singing, but there’s just something missing, which takes a little of the fun out of it

It again feels like something is missing from “Way Down Hadestown” :\

intellectual: I guess I understand why they gave Orpheus’s lyrics to the Fates and Hermes (bc like how would he know what it’s like down there, truly?)

emotional: but I also didn’t like it bc as I’ll talk abt a lot in a min, it really takes away from Reeve’s performance

I’m actually super disappointed that Reeve/Orephus wasn’t featured as much as in the NY recording. his voice is almost completely drowned out almost entirely through “Wait For Me.”

intellectual: I quite enjoyed that the rest of the cast acted as the stones echoing back his song, and that it fit with and strengthened the overall themes and plot of the musical. I’m glad that this version has a more cohesive story and stronger themes

emotional: but it was no longer about Orpheus and his journey, and I think they could’ve kept the themes while also featuring Reeve’s voice. esp in such an Iconic song for Orpheus like “Wait For Me”

“If It’s True” I was tempted to put this in the negatives section bc I feel like it really takes away from Orpheus’s story (get ready to here a lot of repetition sorry not sorry fam). but there are some things I liked abt it.

intellectual: I liked that in the OBC version, that it was more abt the theme they’d introduced abt the workers’/chorus’s struggle and Hades’s struggle to keep them nameless, so to speak. I also did like that they show Orpheus’s worldview change. and fucking finally gave Reeve a chance to shine (kinda, with interjections from Hermes and the Chorus)

emotional: but I do think they went abt it the wrong way, bc I liked that it addressed just Orpheus and his feelings of what’s gone on (specifically Eurydice belonging to Hades) in the NY version, and I didn’t like that in the OBC version that it Was more abt the themes. I also felt like it got a little preachy. Like that’s not what I thought the original “If It’s True” was abt yo. I get it fits with the overall theme and message they want to get across, but I don’t think their execution was that Great :\ I also really liked that in the NY version, him just being sad is what moved both Persephone and the Chorus

“Wait For Me (Reprise)” is the same as with “Wait For Me”

intellectual: I’m not saying that the new, stronger themes are bad or anything--like I’ve said, I Loved that they strengthened the themes and made the musical more cohesive overall.

emotional:

(+): Okay but also I really Love Eurydice singing what Orpheus sang in “Wait For me”

(-): Reeve’s voice is often drowned out and it’s no longer about his and Eurydice’s story as much (it’s in the very first song! “brother, thus, begins the tale of ORPHEUS AND EURYDICE”). I really do think they could have gone about it in a way that highlights Reeve as Orpheus AND keeps with the theme and the message they wanted to get across by including the Chorus. I mean look! Look! Reeve stands off to the side or isn’t singing for like ALMOST THE WHOLE SONG DUDE. he gets 36 measly seconds singing in this song, I timed it. it’s a 3 mins and 12 second song. and most of those seconds are spent singing the song with the chorus (I do not, however, really count the times Hermes is speaking bc those lines are Great and when Eurydice is singing at the end, but Still!). like I said, I’m so glad they have Eurydice singing his song back to him, but I Really Do Think they could have composed it so it was still Orpheus’s song (with Hermes, and Eurydice at the end, keep that of course!), but held those stronger themes.

“Doubt Comes In” ...like at this point, are you even surprised?

intellectual: strong themes. great. okay.

emotional:

(+): I Loved Eurydice’s part in this, encouraging Orpheus even tho he can’t hear her. I also did love that they added in Orpheus’s thoughts--pique drama, I LOVED it

(-): third verse, same as the first (and second): Reeve just wasn’t featured as much as I would have liked him to be! the Fates get the lines Orpheus used to sing! when Orpheus sang, “where are you? where are you now?” the first time more steady and sing-song-y, the second time more desperate (but still beautiful holy shit Damon Daunno was Amazing) as he starts to go out of his mind,,, i felt that and i’m incredibly disappointed (and angry lbr) that they took those lines away from Orpheus.

not really a point, but this needs its own bullet point: it just does Reeve a huge disservice, bc he’s a Great Orpheus. I Loved his Orpheus, but the fact that he’s taken out of so much of the story he’s the protagonist in detracts severely from his performance, and it’s a damn shame

I did really liked that they made the “la la la” more complicated in “Epic III” and when Persephone and Hades danced, and how it was softer, but I also liked how powerful the “la la la” crescendo as Hermes, Persephone (I believe) and the Chorus joined in along with the instruments was in the NY version so,,, ¯\_( : \ )_/¯

I don’t think they changed any of the lyrics for “Road To Hell (Reprise)” (they added stuff, sure) but it sounded and felt different, and I’m upset that it wasn’t the same as the NY. it’s in this section tho, bc it was still good (think I like the NY version just slightly better, but I do like the OBC version too, but for different reasons)

neutral(ish)

the change of characters who says/sings lines isn’t my fave, but it’s not bad either and, based on the theme and more cohesive storyline, it makes sense

I’m trying to decide if Patrick Page’s descent from a higher vocal range into a lower one is a stylistic choice, but I don’t feel one particular way about it or another (except for the fact that it didn’t sound like him I questioned if it was at first)...tho the bass drops for “Hey Little Songbird” so maybe it was a stylistic choice and if so, Brilliant! (but it will stay in this spot since I can’t tell if that was intentional)

I’m a little surprised they didn’t give Eurydice her spot light in “Why We Build the Wall” but it’s not like it changes the story much. I think I just liked that she stood out, and with those lyrics, bc it’s dramatic irony--we know her mistake but she doesn’t yet realize that it is a mistake she’s made

“Word to the Wise” it was good. not great. I liked NY version better, but I think I mildly like NY Fates better bc they sang in a very harsh and solid way. like in some parts the OBC Fates do too, but not in the songs where it matters (to me)

the changes made to the Epics. I liked the more story-telling aspect of them, but I also didn’t quite love the changes. but the songs themselves were still p great, so (it’s here, rather in the mixed section) bc I don’t particularly feel as strong one way or another abt the NY Epics compared to the OBC Epics

Once again, I feel like smth is missing from “Word to the Wise” :\ like some kind of instrument to really push it into extraordinary, to hold it up. But the Fates were a little better at being brutal so ¯\_(ツ)_/¯ i guess

hard no, babe

that being said, regarding first point in the neutral section, I didn’t like that they took away (even) more of Orpheus’s lines because it then removes (even) more of his voice, when he’s HALF THE FEATURE OF THE STORY. I know it’s really about two love stories (and like I said before, it does strengthen the themes and overall storyline), but the main focus was Orpheus and Eurydice !!!

the sound of the train whistle. mmm, I’ll pass. it’s so dinky. bring back the NY train!

The way Reeve says/sings some of his lines (not all of ‘em tho) could use some work? doesn’t sound great. didn’t love it. idk if it was a stylistic choice on the director’s part or Reeve’s own choices in how he wanted to play Orpheus, but I didn’t agree with them. I think he uses his falsetto a little too much for some lines. And let me tell you, was very afraid they were going to do that three-voice thing (like in the concept album) when Orpheus meets Eurydice. glad they didn’t, but I also didn’t really think they needed it at all

I’m actually uber disappointed they took out the old radio sound for Hermes in “Wait For Me.” I just really liked it man.

ngl, I. was. Heartbroken. when they’d changed the lyrics to Epic III (which is why it’s in this section :\). Esp like I CANNOT BELIEVE THEY CHANGED “where is the man, WITH HIS HAT IN HIS HANDS, who stands in the garden, with nothing to lose” (emphasis mine). like, again, i understand the changes were made to keep with the themes introduced, BUT can you Imagine. holding the whole world in your arms (when Hades gets the girl) compared to holding something so small and insignificant (BEFORE Hades gets the girl). COME ON! it’s like the perfect juxtaposition AND I thought it made Hades much more human AND it still keeps with the themes. (tho I am glad they kept that part at all bc when I realized how much of “Epic III” they changed, I was worried they’d taken that part out too. it’s in this section tho bc the changes are unforgivable overall)

Come Home With Me I and II (Reprise) !!! I’m extremely sad they changed the lyrics so much. Admittedly, I do like the first “Come Home With Me” introducing his song that will bring spring back. But the changes are too unforgivable for me to put it in the mixed section. I really liked Orpheus’s proposal in “Come Home With Me II” in the NY version and that repetition of “say I do, I came all the way just to ask you to” and then the Fates step in and are like, “Mmm, sorry boo, she belongs to Hades now” and the song ending with Eurydice saying “I do” but with a totally different meaning. like okay, the OBC version fits more with the theme, and I’m glad they still kinda included it in “Papers” (I do actually like the way it’s composed in “Papers” if I’m being honest, the “I did. I do.” just,,, hits me) but it’s too unforgivable to put in the mixed section. OH GOD and. esp,,, okay Listen. HOW could they take out “are you always this confident?” // “when I look at you I am” and then later hearing Hades sing, “Orpheus the undersigned SHALL NOT LOOK BEHIND // SHE’S OUT OF SIGHT and he’s out of his mind” LIKE COME ON MAN that was Perfect AND YOU TOOK IT OUT ???

the Fates in their “Way Down Hadestown (Reprise)” I Loved the NY bc they Tore into Eurydice (I love my girl, but that song is a Bop and they are Ruthless). the way they sang, it was harsh and cutting. in the OBCR...not so much. It’s too sing-songy and embellished (is the best way I can explain it), and I was disappointed bc it was one of my fave songs in the NY version. not to mention, I Did Not Like Eurydice’s lyric changes. and I know that it strengthens the themes, and I did actually like that they showed Eurydice losing herself as she worked (esp bc it adds more to “Flowers” and again strengthens the thread linking the songs), but I disliked it as a whole enough that it can’t be saved to be moved into the mixed section

OH NO I. CANNOT. BELIEVE. THEY CHANGED “YOU’RE EARLY” // “I MISSED YOU” TO “IT’S YOU” // “IT’S ME” // “ORPHEUS” // “EURYDICE” FUCK YOUR THEMES but for real, I think keeping “you’re early” // “I missed you” would’ve have kept with the theme way more than what they changed it to bc 1) they’re referencing smth the two litchrally just said to each other. and 2) THAT’S WHAT PERSEPHONE AND HADES SAID TO EACH OTHER WHEN HE CAME TO GET HER FROM HADESTOWN AT THE BEGINNING OF THE SHOW. it’s a theme that’s introduced in the beginning of the musical--“it’s a tale from long ago”--bc Persephone and Hades’s relationship was SUPPOSED to mirror Orpheus and Eurydice right? there’s the fact that Orpheus’s song is what Hades heard long ago like ??? a HUGE Point of Orpheus and Eurydice’s love story was to remind Persephone and Hades about the love they shared when they first met (“wait for me?” // “I will”). and gosh darn it, it still would’ve fit the themes if they had stuck with “you’re early” // “I missed you” bc of that!

SPEAKING OF I CAN’T BELIEVE THEY TOOK OUT PERSEPHONE’S LYRICS IN “CHANT (REPRISE)” LIKE WHAT like it worked so well !!! (esp bc I’ve read reviews of the show, with Hades and Persephone circling Orpheus and Eurydice as they’re dueling and switching the direction they walk when the chorus makes that “kch” noise like poetictheater.jpeg) it was such a good juxtaposition between what Hades thinks Persephone wants and what Persephone actually wants (I do like that “Chant (Reprise)” is more complicated composition-wise, but not enough to move it into the mixed section). ALSO “He said we’d build ‘em up // And then the walls would set us free” // “Is it true, what he said?” // “He said we’d soldier on // And then the war would bring us peace.” I thought that got across the message quite well in the NY version, esp since they were echoing Orpheus’s “if it’s true.” they’re also just Great lines and I Cannot Believe they took them out

YAS QUEEN

I’m a HOE for singing in the round, and the beauty of Orpheus’s “la la la la” joined in by the chorus in “Wait For Me” got me like. OKAY AND THE LYRIC ADDITIONS I LITERALLY CANNOT IT’S SO BEAUTIFUL AND POETIC AND GOOD WHEN ORPHEUS SANG “I HEAR THE ROCKS AND STONE, ECHOING MY SONG, I’M COMING”

I mean,,, how can you Not like “Our Lady of the Underground.” I also really enjoyed the more jazzy feel. Like it was already jazzy, but it’s even more jazzy in this version, to me

if you couldn’t tell, I loved Reeve and his Orpheus

“Papers” is Great and idk why but I Love “everything and everyone in Hadestown, I own.”

oh shit dude, Orpheus’s song being something from long ago that he like picked up on bc Greek mythology be like that and then HADES RECOGNIZING THE SONG. THAT. WAS. BRILLIANT.

“Flowers” felt like it fit much better in this version, with the themes being stronger and all that. also could actually hear it clearly, so that could be why bc I’m pretty sure they didn’t change a single lyric lol. still Loved it

the lyric additions to “Wait For Me” I’M SCREAM SO GOOD (even tho I’ve mentioned this before lmao)

“How Long” was. so. good. I just really enjoyed the exchange between Persephone and Hades in this song

DUDE I JUST REALIZED “NOW I SING A DIFFERENT SONG” FROM THE ONE ORPHEUS REMINDS HADES OF BRILLIANT

“Oh, it’s about me?” that made me laugh out loud. Oh god Also the repetition of lyrics in “All I’ve Ever Known” in “Epic III” to show that Orpheus and Eurydice’s love mirrors Persephone and Hades’s? poetictheater.jpeg

“Promises” omg. I actually liked this one better than NY “Promises” sorry not sorry. don’t get me wrong, Eurydice has every right to tell Orpheus off since he made all those promises he couldn’t keep in the NY “Promises” but in OBC “Promises” it feels more mutual. it feels softer. rather than Eurydice going, “you done messed up A-A-Ron” it’s more like Orpheus going, “I done fucked up and I’m sorry.” Orpheus is more self-aware and I liked that.

dudes, I’m extremely happy they added Eurydice back in for “We Raise Our Cups” it really rounds everything out. And it’s just a really good epilogue song. (I’m curious to see if Reeve is out on stage for this or if he stays backstage)

Final thoughts: the stronger themes were Great. don’t get me wrong. okay. I liked that about this version. but I feel like by trying to be too In With The Times(TM) they lost some of the heart of the story, which ultimately detracted from Reeve’s performance as Orpheus.

sometimes I really think a story can be just a story about two people (or two love stories), and the themes and messages will find their way in naturally. it doesn’t need to be this big thing about everyone all of a sudden. at the very least, bc it’s obvious the themes and messages are stronger in the OBC version, it does take some work and planning, but I felt like they were trying just a tad too hard and ended up being too heavy-handed.

I thought the themes and message they were originally trying to get across got across just find in the NY composition (specifically for “Wait For Me (Reprise)” bc the themes are definitely stronger throughout the overall musical in the OBCR composition)

now, I’m not saying don’t include messages in your art, that’s what art is for! But I think they could have either kept it about how it was in the NY version, because there were still messages (just a little more lucid and not as strong) OR they could have composed it some way that kept the stronger themes and messages AND kept the importance and presence of Orpheus’s role, and Orpheus and Eurydice’s story.

for me, Orpheus, esp OBC and Reeve’s Orpheus, doesn’t strike me as the guy to start a revolution and lead the Chorus thru hell. Like when the Fates say, “who are you to think that you can hold your head up higher than your fellow man?” I honestly get confused bc,,, he... doesn’t think that though? He just loves Eurydice and wants to save her from Hadestown. and maybe that’s actually the point? that Orpheus wasn’t ready for the pressure suddenly put on him to not just lead Eurydice out but also all of Hades’s workers, so doubt came in. but then what was with “If It’s True?” which, as I said, did start to sound pretty preachy? not to mention, the one time their themes and messages aren’t clear

anyway, long story long, the way I see Orpheus is his voice just does That. it doesn’t have to have some secret, overarching message for his songs to influence and move people. in the original “If It’s True” he sang about his loss and it was emotional enough to move Hades’s workers. to me Orpheus’s gift, his music, his voice is about emotion. and I think of Coco in that respect: “de la Cruz was a nobody, but when he sang, people listened” paired with, “I didn’t write it for the world, I wrote it for Coco” yet “Remember Me” (and all his songs) still resonated and moved people

so anyway, here’s my Hadestown hot take: Reeve wasn’t nominated for a Tony because the new composition underutilized him as Orpheus

no i don’t take criticism

#hadestown #obc hadestown #obcr hadestown #nytw hadestown #long post #i had so much to say #cheep cheep cheep #washingdad reviews

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sgurrdearg · 5 years

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Talk about : 18,33?

Talk About...

18. Something that happened in elementary school

I had to google the age range for this and it’s ages 5-10? So... well when I was in middle school in Year 5 (which is age range 9-10 I think, I would have been 8-9) we had a school play (actually every year group had one except for year 6 bc of exams) and ours was a musical based on Orpheus and Eurydice (Hadestown, what’s up). It was really really cool, and I got to be a bacchante who was mad at Orpheus for not singing for us at our nice wine and chill orgy and rip him apart on stage. I got complimented by our teacher on my enthusiasm at this part a couple years later when our class watched a video of it lmao. ANYWAY the best bit about it was that for the role of Cerberus, they casted a boy but weren’t sure how to do the three heads, and the teachers were having genuinely worried discussions about it in the corner of the room while we were all painting scenery. And one night I had a dream about the play and how it all went really well, and in the dream I saw the boy as Cerberus, and he had a dog mask on and two papier mache dog heads on sticks he was holding either side of him and it looked pretty good. So the next day at school I went to my teacher and told her about the dream I had and she loved the idea and went with it. Always been so proud that they went with the artistic direction of my literal dreams. Also the play was kind of a shitshow, like it went well but the teacher wanted it to be an Authentic Greek Play so we all had to wear weird masks which I was HORRIFIED by bc I had been focusing so much on my acting and my facial expressions and it was ruining my Art. And my parents sat next to another parent who leaned over to them and whispered “this looks like something out of planet of the fucking apes” so my parents cried with laughter throughout the whole thing. I knew the masks were shit.

33. What do you do when you are sad

Depends on the kind of sad I am, but I usually try to distract myself with a video game or by just watching tv with my parents. Sometimes I go to bed early and curl up with Netflix, or music. Music is good if I need to wallow a bit. If I’m a restless sort of sad I really like looking at real estate websites, especially for New York and picking out dream apartments and houses, or playing around on google earth while listening to music.

#thank you!! :)#blethering #about me

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fourteenacross · 5 years

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hadestown - 5/26/19, 3pm

We also saw Hadestown while we were in the city for Octet!

Sooooo, as I mentioned before, I saw Hadestown off-broadway at the NYTW in the spring of 2016. I had previously been familiar with the album, as Orpheus and Eurydice is a particular favorite myth of mine. I can't 100% remember, but I think that someone told me to listen to it when I was writing my X-Men Orpheus&Eurydice story? Either way, when we found out it was going to be playing while @pearlo was in town, we got tickets, along with @littledust and @anachronistique. And it was great!! I truly enjoyed it! I've been listening to bits of it regularly ever since! (Ish. There was like, a good eight months where all I listened to was podcasts, books, and Ghost Quartet.)

I'm saying all of this because this review is...pretty critical? And I want to make it clear that I do love this music and enjoy this show and I had a good time and I would recommend it, probably! But I wasn't as in love with the production as I was with the NYTW production for a few reasons that I'll get into below the cut.

So, usually I go song by song, but I feel like the things I have to say are largely broader than that, so I guess I'm just going to jump right in.

The cast is largely excellent. Patrick Page and Amber Gray could murder me and I'd be okay with it, tee bee aitch. Patrick Page does a thing with his face that just makes me cry, I don't know how he does it. Sorcery, probably. And Amber Gray is an actual goddess, for reals, how is she even real?

I loved Eva Noblezada's take on Eurydice! She had this sharp, broken energy to her that was truly incredible. She was like...spunky. And it was excellent.

I loved Andre De Shields' energy. His movement was unreal. His voice didn't work for me in places, but that could have just been the sound design of the show--there were bits where it was really hard for me to make out what he was singing.

Jewelle Blackman is AMAZING, as are Yvette Gonzales-Nacer and Kay Trinidad. They've really turned the Fates into a more menacing presence, and while I ADORE Lulu Fall and Shaina Taub and missed seeing them, I didn't MISS them, if that makes sense.

Reeve Carney. Oh. My dude. You are certainly a white boy with a guitar.

And here's where it really starts to break down for me. I have two major issues with the show, and the first one is that I find absolutely nothing exceptional in Reeve Carney. I cannot understand why this cagey, feisty girl who's been hurt before would throw everything in with this weirdo, IMMEDIATELY POSSESSIVE kid who's singing her a song? Lisa framed it as, "She's nineteen and she's literally never met a nice man before," and I can kind of see it through that lens, but I also don't think that's the lens that the show wants me to see it through. It wants me to frame this as a beautiful, epic love story, but I don't buy that she's in love with him. Maybe I'm too gay for it or maybe it's the writing or maybe it's the acting, but it doesn't connect for me, and once that connection is broken, the whole show sort of falls apart.

I don't recall having this problem with the NYTW version. It could be that since that version started with the two of them already in love, it was easier to wave it off as some off-stage wooing that already happened and accept that there were reasons they were together. It could have been that Nabiyah Be's Eurydice was a little softer and more naive. It could have been that I empathized more with Damon Daunno's Orpheus. Whatever it was, I found it much easier to accept that they were in love, which made Orpheus' neglect feel so much more painful and Eurydice's choice so much more desperate and all that followed so much more heartbreaking.

Basically, most of the stakes stop being so high if you don't buy into their love, which I just...did not.

My other major issue, to get that out of the way up front, is the pacing is still not great. Although I didn't write up notes after Hadestown in 2016 (I saw it literally hours before I saw Hamilton for the first time), I remember talking with my friends about how the beginning is very tight and the middle-to-end are kind of a mess and bloated. I didn't follow the show closely while it was out of town and I guess I kind of hoped that it would have been tightened up more, but no. It was not. It still feels very over-full and there's now this number where Orpheus gets beat up by the Hadestown workers that's like...comically over the top. In my heart, I really feel like this could be a one act show, or at least a two act show with much shorter acts. "Wait for Me" is SUCH a good act one finale, but you lose some of that energy moving to "Why We Build the Wall," which I think would work just as well as an opening to act two, as much as I love the way "Our Lady of the Underground" is staged.

Anyway, all that being said, I still enjoyed it and still cried, so what do I know, right?

Road to Hell: I liked this as an introduction overall, and loved the little intros for all of the characters. It really sold me on Andre De Shields, too, esp because I loved Chris Sullivan so much.

Any Way the Wind Blows: This is such a great song and god, I loved the way Eva played Eurydice. The candle thing was a nice touch.

Come Home With Me: I can't believe I'm supposed to care about this kid.

Wedding Song: I liked the new twist on this, although I think I like it better a more earnest song. Still, Eurydice using this to sort of mock Orpheus about being a broke artist was a cool twist and Eva sold it.

Epic I: This was fine. It's explained either here or earlier that spring and fall have more-or-less disappeared because Persephone is being forced to spend more time in the Underworld and is being brought back down sooner. The implication, as we get further along in the story, is that Hades doesn't know how to connect to Persephone any longer and is keeping her around more both a) as a show of power and b) because he doesn't know how else to express himself to her.

Livin’ It Up On Top: I would absolutely kill for Amber Gray. This version of Persephone is drinking to cope. A LOT. It paints this sad, lovely picture of what she's been feeling.

All I've Ever Known: I just do not buy that they're in love, sorry.

Way Down Hadestown: The staging and set of the show are fantastic. There's a panel at the center of the stage that rises and lowers as needed and the visual of Persephone and Hades, stony faced both, sinking back into the underworld is perfect.

A Gathering Storm: The through line about the weather mostly works for me, but honestly, I was so distracted by how annoyed I was at Orpheus during this number that I was pulled out of the moment.

Hey, Little Songbird: Skipping ahead a little, Patrick Page is perfect, in case you were wondering. I tweeted something like that after NYTW and he clearly found it in a vanity search and replied very humbly, which I find quite charming. But yes, I adore him.

When the Chips are Down: This is one of my favorite songs in this show and the Fates kill it here. Their slightly more sinister characterization makes it more haunting than taunting and I'm into it.

Wait For Me: The lighting in this number deserves a Tony all on its own. Jesus Christ, that's art. The set is also incredible. As Orpheus moves down into Hadestown, the stage splits apart from an intimate cafe into a larger, more industrial space. Very cool.

Why We Build the Wall: Again, Patrick Page is excellent. This works really well to pull Eurydice in, as well. We see her slowly starting to accept this way of thinking as she listens to Hades. And, of course, Persephone's act-ending line is perfect.

Our Lady of the Underground: Amber! Gray! Is! Wonderful!

Flowers: My actual favorite song in this show. Eva nails it, it was beautiful and poignant, on the heels of her slow realization that this isn't what Hades said it would be at all, that she's forgetting her name and who she is as she slowly is sucked into the capitalist machine.

Then in here is some more Orpheus stuff, including the ridiculous fight scene where he’s beat up by the workers?

There’s also this subplot that the workers think that if Orpheus can get out, they can get out too, so he’s leading like, a whole little revolution? Except that isn’t really expanded on at all and kind of falls away. It also, imo, takes these weird steps towards turning it into a different story than it is. If you’re pushing that it’s a love story, a love song, so much and then at the last minute paste on this “also a revolution is happening????” and then drop it for the emotional climax like...what are you doing, why is this here?

But also, there's this bit where Hades says "Have a drink!" to Persephone and she says something like "I'm done with that" and it is a real (pun not intended) sobering moment for the two of them. Ugh, I just really love them and the complexities of their relationship.

Epic: Patrick Page's face is very good at acting. The rest of him, too, I guess, but even from the cheap seats, I got SO worked up over Hades' quiet slip into acknowledging the despair that he feels over his inability to connect with Persephone. The guy on Naomi's other side was full on crying, even more than me. It was honestly glorious.

(I have a lot of thoughts about Hades and Persephone, and, to be honest, they’re my main draw to this show. I’m fascinated by their relationship here and the way it’s broken in a way they’re not quite sure how to fix. Against all odds, I’m rooting for them, I want it to work for them, if only because they both seem to remember this time when they were in love and nothing else mattered. I think that’s part of why the parts of this incarnation that don’t work for me...don’t work for me. I’m already more invested in Hades and Persephone than Orpheus and Eurydice, so when I have to work ten times harder to feel for their relationship, it just doesn’t seem worth it, especially next to one that I’m sucked into almost against my will.)

Doubt Comes In: I will give Reeve Carney this--despite knowing how this story was going to end, I still felt the creeping tension and dread in those moments leading up to him turning around. A woman behind Lisa said, "Oh no!" out loud, even.

Road to Hell (Reprise): And this is the other place where I cried, of all things! This number ends up being about how we know that this is a sad story and we know how it ends, but we keep telling it anyway, because that's what stories are there to do. I got weepy, who knows!

I Raise My Cup: So they moved this to after the curtain call??? I....don't know if it works like that, tee bee aitch.

ANYWAY, those are my thoughts, mostly I'm tired of typing this and the deadlines that I started writing it to avoid are looming, SO. I enjoyed it a lot, despite the things that bothered me, but I would probably not spend $150 to see it again. Rush tickets, maybe.

#show notes #tag two #tag three #tag four #tag five #hadestown

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shakespearean-tc · 5 years

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Last day of school post?

Originally posted July 3rd, 2019 Ok so i guess it wasnt my official last dayof school but it was like a month ago and i decided to,,, talk about it??? since i never did and it was literally like ugh my heART this is basically more stuff about A so if you arent interested ignore this post

So,,, the last day that i really went to school was this thing that ,,,, idk if other schools do it but its lagoon day where the seniors go to Lagoon and like half the teachers go to chaperone, right??? So i got there early because I always get to school early and I saw a familiar mess of brown hair and i just got hype??? My heart practically did the happy emote and he turned around and smiled really big and he was like “M!!!! Hi!” and he waved and stuff then he went up the stairs because he was heading to the class he was subbing for (that was before class)

Later my friends came to school and i was just kinda sitting there being a dork and daydreaming and then i was like “OH YEAH A is here!!!” and my theatre friend was really happy yknow and we jsut talked for a while and i was like “man i wish he was subbing for my french teacher, but i know hes not because she didnt hire a substitue because she knew like no one would come” and so i got a little sad but yknow i knew id see him at lunch and stuff

well the bell rang and i headed up stairs to the french room and it was empty from what i saw so i popped my head in and GUESS WHO WAS SITTING AT THE DESK

YUP YOU GUESSED IT

So i played it cool because i can totally do that yknow and just kinda leaned against the doorframe and i was like “well, fancy seeing you here.” and he looked up and smiled again and laughed and he was like “are you following me?” and i laughed and sat down in my desk and i asked him how he was etc etc and we jsut talked for a while until the bell rang signaling that class was to start but??? no one walked in??? and so i was talking to him when two of my friends walked in and stuff and so we just?? sat and played cards all period long?? i say this but we actually (A and I) broke into song because I mentioned this musical I really love (Hadestown) and A kinda stared at me for a minute and his eyes went wide and the conversation went as such:

A: “Wait, you like Hadestown?” Me: “Yeah? I LOVE Hadestown.” A: “I… I love Hadestown too! I just didn’t know that anyone liked it.” Me: “Okay, wait- What’s your favorite song?” A: “Well, Way Down Hadestown is SUPER great, but the one I really love is Wait for Me or Hey, Little Songbird. I wish I had Patrick Page’s voice. What about you?” Me: “Hey, Little Songbird is literally one of my favorites. Also same?? I wish I could sing as good as anyone in the cast.” A: *he smiled and started singing it (his vocal range is tenor so he hiked up the key and we changed the tune a bit because yes)*

So we literally ran around the room singing Hey, Little Songbird and like, 17 other songs from miscellaneous musicals. My other friends joined in too and it was so much fun

Obviously, we were still in school, and so that class period had to end ;-; I had Physics next and I was whining to him how I really didn’t want to go. He turned to me and said “Listen. You’ve gotta go to class M. If you actually get permission from your teacher to come back, then fine. But I don’t want you to skip class because you missed me.” I agreed, begrudgingly and headed to Physics, which was literally across the hall.

I went in talked to my teacher and was back in the french room in like under 15 minutes

The classroom was empty and he was just sitting at the teachers desk playing pokemon on his frigging nintendo ds and i laughed and he looked up and was like “oh hey, i didnt think you’d be back” i told him my physics teacher told me i could leave since,,, she doesnt really like me and i had already done everything i needed to do like fr its the end of the school year why would she want me to hang out in her class for an hour???

anyway i hopped up onto the table and we just,,, talked??? about everything??

I told him I was super bummed about school ending and not being able to go to Drama class everyday. He told me he was worried because him and his girlfriend were having a lot of issues lately and he was struggling with knowing to stick it out or just break it off. I told him that I was not gonna influence his decision whatsoever, but that whatever he chose,,, he needed to keep in mind that HIS mental and physical health was the most important at this point. We eventually brushed that subject away because I told him I would be of no help at all bc,,, ive like never been in a healthy relationship so i didnt know what was right and what was wrong - i dont remember how but i think he asked me how class was going and what classes i was going to be happy to be done with and i was like “hOOOO BOI HISTORY CLASS fOR SURE” and he kinda laughed and was like,,, “what why”

and i just weNT OFF telling him how trashy of a class it was and that no one would pay attention and that my teacher would always rant about democrats and liberals and just say all this garbage about how trashy immigrants were and etc etc and he just sighed and he apologised that i had to deal with a teacher like that and we started to talk about some prick in that class that went off about how rape isnt rape if she doesnt outright say no

me and A just,,, bonded over mutual disgust for this kid haha

anyway after that i just kinda,,, decided to lay down on the table bc i was tired and i kinda sighed and stared at the ceiling. I think A could tell something was up with me because he asked me what was wrong and I kinda gave him a “nothing is wrong im fine” kinda mumbled response. of course this is A and he obviously knew i was lying so he asked me again and i jsut kinda started to choke up and I sat up with tears in my eyes. Immediately he was like, “Omg what’s the matter whats up” and I just,, broke down and told him I was super worried about my friend who he knows as well. I told him that I was stressed and that I felt like our friendship was mostly one sided. That I was just there because… I was the one that put everything into our friendship and instead of her giving AND taking as well, it was just her taking and taking and i was left in the dust. I basically poured my heart out to him and told him that I didn’t want to break things off because I didn’t want to hurt her but I told him that my mental health was suffering gREATLY. Of course, he took my advice and shoved it back into my face. It went something like this,,, A: “You need to take care of yourself. You. Come. First. You put everyone else before you, and that’s such an admirable trait, but you need to take care of yourself as well. Your mental health is in danger because you refuse to put yourself first. And you need to. At least, every once in a while. Anyone is lucky to have you care so deeply for them, but… you need to step back and be selfish for a while.” (I kind of flinched when he said selfish, because I have a big issue with that word, and I guess he noticed) “Why do you- You don’t like that word. Selfish. You don’t like it, do you?” Me: “I just… I’ve been called selfish a lot by my family and past friends and romantic… partners…? I don’t like it at all.” A: “You? Selfish?” *he laughs* “Bull. You’re one of, if not THE most selfless people I know. Listen to me. It is OKAY to be selfish sometimes. Not all the time, yeah. But you need to take care of yourself.” Me: “I just… I love my friends so much that I… I’d rather that I be miserable and they be happy, because… then they’re happy. Y’know?” A: *he smiles, but I think it was kinda a sad smile because his eyes looked a little tearful* “M. You have a heart of gold.That’s rare nowadays. In my opinion, it’s a blessing and a curse. You just need to learn to take care of yourself. You are the most important person in your life.” The conversation kind of… fizzled out after that emotional,,, discussion but we did talk about college and I asked him a lot about being a student teacher. The bell rang, we said goodbye and??? That was really it? I visited him at lunch and we ate and talked a lot more because I had a bunch of questions about college (i’ve been thinking about going to the same college that he is because they have a really good teaching program) but that was,,, pretty much it. School’s been over for a while and I just asjdfajf i miss him a lot this post was so long super super sorry haha have a good day i guess??? end of the post??? how do i finish this whatever goodbye yall haha

#I adore him #He's too good to me #I love him #teacher #student teacher #student #teacher crush #teacher x student #student teacher x student #tcc #tcc blog #tcc community

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