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been thinking a lot about Hadestown and its messages this week. . .
If Hadestown has a moral, she says, then it’s “you have to try, you have to have hope, not because success is a given – it’s not. Orpheus fails. We heroicise” – here she breaks off to apologise that jet lag has led to her making up words – “we heroicise Orpheus not because he succeeds but because he tries, and that endeavour alone is worthwhile. How to live, and not merely survive, is to believe things could change.”
Anaïs Mitchell on her musical Hadestown: 'I worked on it so long I was afraid I'd never make another record'
I often think about how loneliness is a more powerful emotion in theatre because you’re in a room full of people who all powerless to do anything but watch and I saw Eva Noblaza as Eurydice in Hadestown the other day and I cannot get her guttural “is anybody listening” out of my mind, she was screaming for someone to listen and you’re sat there mere metres away unable to let her know that you are, that her story is being told and she matters, so many people are listening but she doesn’t know that