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4.53 AVERAGE
4.53 AVERAGE
there are a few things left out that i would’ve liked to see explored, but this book inspired me. you could say that “it’s about someone who tries.”
i spent hours hunched over the kitchen counter with the original broadway cast recording playing just singing along, quietly absorbing the weight of the lyrics, or even dancing? these songs just really touch a certain part of my soul and i love them very dearly. i think i relate to this depiction of orpheus a lot.
i spent hours hunched over the kitchen counter with the original broadway cast recording playing just singing along, quietly absorbing the weight of the lyrics, or even dancing? these songs just really touch a certain part of my soul and i love them very dearly. i think i relate to this depiction of orpheus a lot.
The most amazing musical that's not Hamilton. It was a great pleasure to find out just how many different versions Hadestown had during its production and listen to them all while reading the lyrics. Although I was hoping for more of an explanation of author's intent with the metaphors and hidden meanings, sort of like an introduction to a literary work, the comments about how the lyrics came to be and their context to Anaïs Mitchell's life were almost as entertaining and fascinating to read.
This book offers a captivating behind-the-scenes glimpse into the creative process behind the music of the renowned show, Hadestown. Mitchell’s exploration of the intricate complexities within the lyrics reaffirms the depth and artistry of the production. As a fan of Hadestown, delving into the making of the music was not only rewarding but also validated my own interpretations of the lyrics. For anyone who appreciates the brilliance of Hadestown, this book is a must-read, providing insight and appreciation for the creative genius behind the acclaimed show.
"The act of writing, for me, has most often been a process of failing repeatedly. It's the only way I know how to write and in the moment of failure, at the desk, banging one's head against the wall, it's nearly impossible to see or feel the value in it. But when I step back, I see a different picture. I know that Hadestown is -- and this goes for any creative endeavor, I reckon -- so much more than what meets the eye or the ear. What is seen and heard onstage is the blooming flower, but most of the plant is underground. Every line, verse, or chorus, every idea any of us who worked on it ever had, even the ones that never saw the light of day, they're down there. They're the roots of the plant and the flower wouldn't exist without them."
My first ever audiobook!
Much like both the mythology and the musical at the core of the book, Anaïs Mitchell's Working on a Song: The Lyrics of 'Hadestown' is a lot of things at once. It's a collection of Mitchell's poetic lyrics, both lost and living, and an insightful glimpse into a writer's years-long process. For me, however, it's most valuable as a love letter to the inherently collaborative nature of theatre, dramaturgy as a creative discipline, and the elusive, enchanting art form of musical theatre.
Mitchell is deeply generous in the way she illustrates the ways a musical lives, breathes, and grows over a long development process (a little over a decade in the case of Hadestown), but she's also startlingly honest in chronicling her journey and growth as a theatrical storyteller. As you can tell from the quote at the top of this review, she has an infectiously romantic relationship with the creative process as well as a candid sense of humility. She credits her collaborators at length throughout the book, from her partners on Team Music (her orchestrators Michael Chorney and Todd Sickafoose and the music director Liam Robinson) to her partners on Team Dramaturgy (the show's longtime director Rachel Chavkin and the lead dramaturg Ken Cerniglia), all of whom worked in support of Mitchell's artistic vision.
I had a winding road to Hadestown. Around 2013 or so, I had some friends become obsessed with the 2010 studio album. They breathlessly recommended it to me and anyone else who would listen. My girlfriend (now fiancée) and I both dove in and found it utterly impenetrable. At the time, I crudely called it boring and wrote it off. Then, in 2017, the live cast album from the off-Broadway production came out, and it hit me and my girlfriend like a bolt of lightning. What had once seemed whispery and stagnant suddenly felt thrillingly, beautifully alive. We both fell in love with the live album and we hungrily waited for its arrival on Broadway in 2019. As this book makes clear, the structure of the show changed dramatically, even over those two years. I admit that when I first listened to the Broadway cast album, I struggled with a few of the changes. The gritty, underground (pun not intended) quality of the off-Broadway production gave way to a much cleaner, polished work on Broadway, and I wasn't sure how to take it.
This book helped a lot: even if there are a few things in the fabric of the musical that I might have addressed if I were in the room as a dramaturg, this is still a wonderful chronicle of the lifespan of a piece of theatre. All things considered, the final draft of Hadestown -- or more accurately, the draft that was produced on Broadway, since Mitchell doesn't write off the possibility of rewrites -- is the miraculous product of a long incubation process. It's an utterly unique amalgam of a centuries-old tragic myth, musical and aesthetic influences from various decades from the last hundred years, and a wandering bard from Vermont with a song to sing and a story to tell.
I have no idea what other tricks Anaïs Mitchell has up her sleeve, but I'll be forever grateful to her for giving us one of the most fascinating American musicals of the new millennium. This is an invaluable addition to any theatre lover's library.
My first ever audiobook!
Much like both the mythology and the musical at the core of the book, Anaïs Mitchell's Working on a Song: The Lyrics of 'Hadestown' is a lot of things at once. It's a collection of Mitchell's poetic lyrics, both lost and living, and an insightful glimpse into a writer's years-long process. For me, however, it's most valuable as a love letter to the inherently collaborative nature of theatre, dramaturgy as a creative discipline, and the elusive, enchanting art form of musical theatre.
Mitchell is deeply generous in the way she illustrates the ways a musical lives, breathes, and grows over a long development process (a little over a decade in the case of Hadestown), but she's also startlingly honest in chronicling her journey and growth as a theatrical storyteller. As you can tell from the quote at the top of this review, she has an infectiously romantic relationship with the creative process as well as a candid sense of humility. She credits her collaborators at length throughout the book, from her partners on Team Music (her orchestrators Michael Chorney and Todd Sickafoose and the music director Liam Robinson) to her partners on Team Dramaturgy (the show's longtime director Rachel Chavkin and the lead dramaturg Ken Cerniglia), all of whom worked in support of Mitchell's artistic vision.
I had a winding road to Hadestown. Around 2013 or so, I had some friends become obsessed with the 2010 studio album. They breathlessly recommended it to me and anyone else who would listen. My girlfriend (now fiancée) and I both dove in and found it utterly impenetrable. At the time, I crudely called it boring and wrote it off. Then, in 2017, the live cast album from the off-Broadway production came out, and it hit me and my girlfriend like a bolt of lightning. What had once seemed whispery and stagnant suddenly felt thrillingly, beautifully alive. We both fell in love with the live album and we hungrily waited for its arrival on Broadway in 2019. As this book makes clear, the structure of the show changed dramatically, even over those two years. I admit that when I first listened to the Broadway cast album, I struggled with a few of the changes. The gritty, underground (pun not intended) quality of the off-Broadway production gave way to a much cleaner, polished work on Broadway, and I wasn't sure how to take it.
This book helped a lot: even if there are a few things in the fabric of the musical that I might have addressed if I were in the room as a dramaturg, this is still a wonderful chronicle of the lifespan of a piece of theatre. All things considered, the final draft of Hadestown -- or more accurately, the draft that was produced on Broadway, since Mitchell doesn't write off the possibility of rewrites -- is the miraculous product of a long incubation process. It's an utterly unique amalgam of a centuries-old tragic myth, musical and aesthetic influences from various decades from the last hundred years, and a wandering bard from Vermont with a song to sing and a story to tell.
I have no idea what other tricks Anaïs Mitchell has up her sleeve, but I'll be forever grateful to her for giving us one of the most fascinating American musicals of the new millennium. This is an invaluable addition to any theatre lover's library.
The behind the scenes look at a creative process that I crave from all my favorite pieces of media
A beautifully written and insightful look into the journey of the lyrics. Both the lyrics as we know them today, the journey to get to this point and the reasoning behind it all. The reader catch a glimpse of over ten years of love that Anaïs put into the masterpiece that is Hadestown.
Very fun deep dive into Ms. Mitchell’s songwriting process and how it contrasts between folk songs and musicals. Loved the play, love her insights.
informative
emotional
informative
inspiring
reflective
fast-paced
love love love!! the lyrics of Hadestown are so rich, layered, and purposeful but a peek behind the curtain into the author's intentions and evolutions makes them even more meaningful.