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4.53 AVERAGE
4.53 AVERAGE
I love this musical. As someone who grew up on folk music and poetry from my dad, this coming into the realm of musical theatre really hit a specific niche for me, and it is one of the few musical theatre shows/albums that feels like listening to pure poetry. Not strictly book-related, but he instrumental is beautiful as well. This show is a masterclass in use of leitmotifs and reprises, and I like that it draws from folk songs to structure it rather than the typical musical-theatre styling.
I love the spaces that exist between what was and what could have been in drafts. Hadestown in particularly has a long storied history of its creation and journey to the stage to the iteration it is in now (and continues to change). There's a magic in seeing how certain lines read in new places and what got repurposed and what got cut.
I love the spaces that exist between what was and what could have been in drafts. Hadestown in particularly has a long storied history of its creation and journey to the stage to the iteration it is in now (and continues to change). There's a magic in seeing how certain lines read in new places and what got repurposed and what got cut.
informative
inspiring
reflective
medium-paced
The audiobook especially, complete with Anaïs' own voice, provides an introspective and fruitful lens into the creative process of Hadestown. And what a unique process, navigating the intersection of poetry, folk music, and music theatre. This gave me more insight and appreciation for the show, and hearing Anaïs sing her own music in snippets was such a wonderful experience.
It was very interesting getting to learn the thought process of Mitchell. It's unbelievable how many changes happen and how many things get workshopped
informative
fast-paced
funny
informative
inspiring
lighthearted
reflective
relaxing
fast-paced
It’s hard for me to put concise words to the things that I feel for the show Hadestown. I don’t think any piece of art has ever resonated so deeply with me, and I don’t know if anything else ever will honestly. Reading this brought me to tears again and again and instilled in me a profound appreciation for the intricate work that went into making this show what it is today. I can’t thank Anaïs Mitchell enough for bringing it into existence.
Possibly my favorite part of this book was getting to read the extended version of Orpheus’s toast, which is also one of my favorite parts of the show. The song had to be shortened for length requirements when the show got to Broadway, but here’s the full verse:
“To the Patroness of all of this: Persephone!
Who has finally returned to us with wine enough to share
So let no one go without
Let us pour the last drop out
In every cup, in every hand
So if hard times come again, then
We can all recall the taste
Of the wine, this time and place
And the way that it tastes better
When we drink of it together.
And if no one takes too much
There will always be enough
She will always fill our cups
And we will always raise ‘em up
To the world we dream about!
And the one we live in now.”
Don’t get me started on the Hadestown / The Grapes of Wrath parallels because I’ll never be able to stop, and this is already long enough.
Hadestown is a show that points us to a brighter future—one that we know will be painstaking to get to, but we’ll keep pushing for all the same. It’s a reflection that for every step forward humanity takes, we also seem to take a little step back. But the heart-wrenching and awe-inspiring thing about humanity is that, even knowing this, we take the steps anyway. We sing the song anyway. In fact, we’ll sing it again and again.
Possibly my favorite part of this book was getting to read the extended version of Orpheus’s toast, which is also one of my favorite parts of the show. The song had to be shortened for length requirements when the show got to Broadway, but here’s the full verse:
“To the Patroness of all of this: Persephone!
Who has finally returned to us with wine enough to share
So let no one go without
Let us pour the last drop out
In every cup, in every hand
So if hard times come again, then
We can all recall the taste
Of the wine, this time and place
And the way that it tastes better
When we drink of it together.
And if no one takes too much
There will always be enough
She will always fill our cups
And we will always raise ‘em up
To the world we dream about!
And the one we live in now.”
Don’t get me started on the Hadestown / The Grapes of Wrath parallels because I’ll never be able to stop, and this is already long enough.
Hadestown is a show that points us to a brighter future—one that we know will be painstaking to get to, but we’ll keep pushing for all the same. It’s a reflection that for every step forward humanity takes, we also seem to take a little step back. But the heart-wrenching and awe-inspiring thing about humanity is that, even knowing this, we take the steps anyway. We sing the song anyway. In fact, we’ll sing it again and again.
informative
inspiring
reflective
“We raise our cups to Orpheus not because he succeeds, but because he tries”
Es increíble leer el proceso de como Hadestown se fue transformando con los años, para terminar siendo el producto perfecto que es ❤️
Es increíble leer el proceso de como Hadestown se fue transformando con los años, para terminar siendo el producto perfecto que es ❤️
A really interesting read, a must-have for fans of the musical. Having seen the show in London, and devoured both cast recordings, I was acutely aware of the stark differences between the productions. I often wondered why these changes were made. Anaïs guides the reader through each song, discussing the cut or changed lines. I have my own personal preferences on a lot of these lines, but it was interesting to learn about the decisions that led to these changes. This book also gives interesting insights into Anaïs' collaborations with Rachel Chavkin and the other members of the Hadestown cast and crew.