Archival Videos

As requested, the archival video is now available via this blog for viewing.

Due to STRICT COPYRIGHT RULES, DO NOT DISTRIBUTE THIS LINK BEYOND YOUR PRIVATE, PERSONAL VIEWING...or use in audition/portfolio footage.

See the sidebar for your links.

Nice work, friends!

- jm

...Next?

Hey there - 

For all y'all who are looking ahead to the winter and thinking, 'hmm...this wasn't so bad.  maybe i'll do another play', here's where to find the information on that one:

ibwhsdramarepshows.blogspot.com

You're welcome ;-)

- jm

Josh Notes from Preview

Happy Opening, everyone!

Watching last night’s run, it’s clear we have a show! You should all be incredibly proud of your hard work and dedication—it truly shines through in this production. I’m thrilled to share this with our first paying audience!

Below are a few notes from last night. Additionally, I’ll be giving Caldwell and the band some feedback before tonight’s show, which should help smooth out a few of the rougher patches in Act II.

I’m especially proud of the professionalism you displayed running Act II for the first time in front of such a large audience. You all handled every curveball beautifully, and it’s clear the audience loved it!

Break legs tonight! Please feel free to grab me before the show if you have any questions about the notes.

Josh

HERMES, “See what this crew can do” make a bigger point of this line to indicate the band. The “Crew” you were indicating got a little lost

LIGHT SM, “Wind Comes Up” cue, take on the line not before

EURYDICE, when you light the match there should be a moment of relief that you now have the smallest warmth. Don’t react to the fact it will go out before the Fates blow it out. 

ALL, Caldwell mouths words when you get desynced. Can always check in with him, even if you need to turn to do so. 

SM, as part of pre-show, make sure to walk all deck and platforms. There were left out bits and wood on some platforms from build. Should just do a walk of the full set to make sure everything is ready before opening house.

LIGHT SM, Lights got ahead in Wedding Song. I think you got it Stopped during transition, so good catch. 

HERMES, great “Go on” in Epic I

HERMES, at the top of Livin’ it Up on Top, you can go once everyone is in position. The band is doing a 2 bar vamp. I think we sat for about 6 measures in this vamp after everyone was in place last night, so feel free to move once everyone is set. 

CHORUS, Dance break in Livin’ it Up on Top. SR crew make sure to get lower or more US as you are blocking most of the House Right first row’s view. 

HERMES/PROPS, need to figure out train whistle. Hermes, is there somewhere we could prep it on the deck, or a place you can set it down when you don’t need it? 

PERSEPHONE, make sure to get a breath post dance break before singing. We missed the “up on top we ain’t got much” but I think most of that was being out of breath. 

ORPHEUS, Livin’ it up on top toast, you were too low on the stairs again. Make sure to get to the focused part of the stairs (I think it’s even with the 2nd platform level). 

CHORUS, leave this scene still in a party energy. Quietly still, but we exited like it was a transition not the party was continuing in another location. 

EURYDICE, in “All I’ve ever known” much stronger first verse! I think you could hear the band, which helped with locking in. 

EURYDICE, in “All I’ve ever known” make sure to react, smile, etc when Hermes says “in love with Orpheus”. 

ORPHEUS and EURYDICE, reminder for both of you that when you meet eyes to smile. It really helps sell the justification of walking in and out of hell for one another. 

ORPHEUS, the ending of “All I’ve ever known” need to be so overly in love with the lines “the wind will never change” “it’ll always be like this”. You’re right in front of the House center audience so make sure to smile (especially with your eyes) as you sing and reassure that nothing will change this perfect moment so that when the entire-rest-of-the-play happens, its in contrast to this moment. 

PERSEPHONE, in Way Down, Hadestown, fantastic subtle check-in with Caldwell to get into “Winter’s Nigh”. Exactly how to do this to sync with the band and no audience would have had any clue!

ORPHEUS and EURYDICE, in Way Down Hadestown, when you walk SR to get Eurydice’s coat, make sure to do so in character not as actors. 

HERMES, in Gathering Storm, hold the Umbrella up for the FATES as they exit as if to gentlemanly protect them from the rain. You can then close it intentionally rather than trying to sneak out with it fully opened. Great work checking up at the sky in this piece, as I could really feel the rain Hermes was concerned about.

CHORUS, in Chant, really set the tone for the “keep your head low” with that brow-beaten energy of the workers. Both in movement into position and with the darker exhausted tone for the “keep your head low” chant. It will really help establish these people as different than the party-goers we just saw in Livin’ it Up

HERMES, in Chant, remember that Hermes is trying to change the story to make it turn out this time. Lines like “He did not see the storm coming” or “look up” should really show these emotions. Lots at stake for Hermes in this number. This is when the rails come off for trying to keep everyone okay. 

EURYDICE, in Chant, YES YES YES on calling out for Orpheus. That read so well! 

PERSEPHONE, review final solo in Chant. We got off, not sure how much was band/lyrics memory, but worthwhile to give it a review.

ALL, in Chant, make sure to freeze at “The Gods have forgotten the song of their love”. Most everyone is freezing but any movement really takes from that power. 

EURYDICE, loving the tone of “shelter us”/“harbor me” its working great in the Mics. Remember this is a beseech of the world to assist you, so don’t keep your arms crossed. Reach and plea for the world’s assistance. 

HADES, in Hey, Little Songbird, the play and story is so so so strong. Very well done. 

HADES, in Hey, Little Songbird, “Let me guess” needs some form of physical pop. Be that a slight head cock so set up these couple lines. You’re doing a great shift of energy in “he’s some kind of poet” but that energy shift needs to go one line line earlier. 

SOUND/FATES, need to sound check fates together. I know last night we had Arlo mic issues, so understandable, but if we can do it it’ll really help levels. FATES, probably best to use this to run Nothing Changes as a sound check.

FATES, in Chips are down, great energy even when you aren’t getting that strong salsa beat at the top. I have added a note for the band to really sell this start, but even if they don’t your energy is fantastic!

FATES, in Chips are down, when you turn to the audience you can PREAAACH to them. Choreo is really locking in here but remember you are givin’ a lesson to the audience. You tellin’ ‘em how it is. Have fun with it!

EURYDICE, in Gone, I’m Gone, absolutely nailed it with that band shift! Do this forever and always! YES YES YES!

FATES, in Gone, I’m Gone, I will tell the band to follow you. But you need to make your tempos really really clear due to all of the retards that happen. Ella, at the top make sure that “go a-head and lay the blame” is straight rhythmically because that’s how they’ll get the tempo. 

ORPHEUS, in Wait for me, keep that jump off the stage, that was so good!

PERSEPHONE, in Why Do we Build the Wall loving your mocking of HADES. Feel free to fiddle with the cups on the table, look if there’s anything left to drink. Sing to the audience, etc. It’s a great easter egg for anyone who notices, but you aren’t stealing the scene, so keep walking that fine line.

LIGHTS SM, end of Why Do we Build the Wall went too early? You or me?

SOUND, make sure to keep Hades up at the end of Why Do we Build the Wall for the spoken lines. 

ALL, in Our Lady of the Underground, with singing the lines off stage, we are really really loosing text. Super strong and clear “Our lady of ways, our lady of means” to make yourselves understood. 

PERSEPHONE, in Our Lady of the Underground, missed band introductions. 

PERSEPHONE, remember to bring the jazz lounge singer sultry. You have a couple of moments of this which are fantastic! Play! Have fun!

FATES, in Way Down Hadestown (Reprise) we got one measure behind at the end. Not sure how it happened. 

EURYDICE, in Flowers, see if you can bring any more presence to when you’re on your back. The Mic level is much different there than when you sit up, so anything more that you can give is appreciated. 

EURYDICE, check pitch at “nothing gonna wake you now”

EURYDICE, in Flowers, remember those Celtic vibes we worked on for the runs.

SOUND, Eurydice will probably need to be raised level a bit in this song from her baseline due to the lyric nature of this piece. 

ORPHEUS and EURYDICE in Come Home, Reprise, great change of “you heard” “no”. 

HADES, in Papers, take your scarf off at “better run” rather than before

FATES, solid Nothing Changes” Probably a good warm up piece to run most nights given its really exposed nature. 

LIGHTS SM, need to review If Its True cues. Hermes’ light was taken out when he was still up there, need to see where these Gos are.

CHORUS, in If It’s True, ask the questions you ask. Maybe to yourself, maybe to each other, maybe to the audience. Don’t let your questions just be lyrics of a song you memorized. “What’s the purpose of a man?” “What’s the use of his backbone if he never stands up right?” 

LIGHTS SM, check the call at the end of Nothing Changes

PERSEPHONE, in How Long, text check “burns like a fire in a pit” “bird on a spit”

HADES, in How Long, memory flub; great recovery. Review lyrics. 

HADES, in How Long, let the last word land before walking way SR. It felt like you left before the song was done. 

ALL, Chant (Reprise) was rushing. The band started quick, then Caldwell got them under control and then you all continued to go back to that earlier tempo. Really lock into the tempo the band is giving you, and allow Caldwell to react and fix it. 

LIGHTS SM, great Electric city cue, missed the “One!”. Listen to Broadway a couple times to hear where that is. 

HADES, in Epic III react to Orpheus playing your song. There should be an energy shift from “Oh it’s about me!” To “Where’d you get that melody?” Not necessarily anger, but a clear “oh play whatever you want....how did you know my secret song?”

PERSEPHONE, in Epic III, great focus on Orpheus. 

ORPHEUS, in Epic III, allow your conducting to take on different energy, levels, technique etc. One hand, other hand, both, to the band, to the world, etc. It gets a little repetitive. 

CHORUS, in Epic III, final held La Las. Make sure to keep vowels tall. Getting some “uh” sounds.

ORPHEUS, literal chills at “Where is the treasure”. Hell yeah. 

HERMES, EPIC III instrumental, start talking sooner. I believe Caldwell gave a cue, but if not, don’t let that instrumental only hang for too long. 

HADES & PERSEPHONE, Epic III Instrumental, rediscover dancing in those first few bars. Let the joy bloom in those first couple moves.

HADES, Epic III Instrumental, try not to mouth the counts

ORPHEUS, in Promises, turn the direction Eurydice touches your shoulder. EURYDICE, I’d recommend touching his downstage shoulder. 

HADES, He Kiss, the Riot, great word painting at the top

HADES, in He Kiss, the Riot, make sure to not lose the Hades character. You’re trying to figure your way out, but you are still King of the Underworld. A couple moments when we lost the consistency of Hades. 

HERMES, in Wait for Me reprise, clearer text on “its a trial”

CHORUS/DANCE, similar sight-line problem in Wait for Me (Reprise) for side audience. 

HADES, in Wait for Me (Reprise), “Its time for spring” is regretful that you can’t keep her longer, but shows the growth that the world needs her to leave. Text needs to be really clear here, as well as the sadness that she must leave. 

ALL, Doubt Comes in was reaaaaaly fast with the band. Great moves trying to keep up with them. They have the note to slow it down to what we’ve rehearsed, but if they go fast again you’re keeping up is exactly what you should do. 

ALL, it’s better to check in with Caldwell and the band than be lost. If you need to turn so you can see them, do so. 

EURYDICE in Doubt Comes In, I think it was tempo related, but you were skipping the final beat of the 5/4 bar before your two “are you listening”s. Remember that’s a weird measure. 

ORPHEUS, at the end of Doubt Comes In, don’t be sad on seeing Eurydice. You turn to make sure she’s there, and she is, that’s a good thing. It can have nuance of “this is the last time I’ll ever see you”, but there is a bit of love and relief that she’s still behind you. Its very very powerful in Theatre to see a character fight back an emotion and try to keep it back than immediately break down. Wait until she has left your sightline to fully break down. 

HERMES, in Road to Hell (Reprise). Walk to the center of the deck and don’t wander. You’ve really nailed the wandering storyteller in the other Hermes scenes, let this one feel different. Embody the stillness. You can start slowly moving at “Cause here’s the thing” but not back to full wander Hermes. 

HERMES, in Road to Hell (Reprise), still rushing. Take those breaths. You got about 2 measures ahead once the band came in. Let us sit in the stillness. If you want to run this, happy to do so before the show tonight. 

ALL, Road to Hell (Reprise) is the big finish. Let it build to that. CHORUS check your faces, we had a lot of Choir-kid flat expression last night. Let these echos build “with a love song, with a love song, with a love song”. We should end the show feeling very determined to sing it again.

HERMES, post-bows, don’t cut the band off from their final lick. The Audience will probably applaud again, you can tell them, we got one more thing. 

PERSEPHONE and EURYDICE, in Raise our Cups, you can look at one another. Especially during your actual duet parts. Right now it’s like you are not allowed to observe one another. This is your duet, acknowledge that!

ALL, in Raise our Cups you can see the audience. Sing to them in toast!

PERSEPHONE in Raise our Cups, remember to toast by raising your glass whenever you say “Raise our Cups”. Everyone else is toasting, and you should be leading that energy.

Josh notes for Tuesday Dress + Saturday run

Tuesday Dress Notes

Hello, residents of Hadestown!

Thank you for your patience these past few days as we’ve been fine-tuning the sound. Rest assured, every adjustment is enhancing the audience’s experience. Below are some notes from yesterday’s Act I as well as remaining notes from Saturday’s run. Please review and grab me if you have any questions before tonight’s runs.

Overall, you’re all feeling solid in your parts. Your confidence shines through, especially when the band goes off or sound levels aren’t quite there. You’ve stayed focused and unfazed, which has been fantastic to see!

For tonight’s 1.5 runs, let’s really lean into the jazz essence of this show. Things will go sideways, there will be hiccups—embrace it. Jazz is about playing the “wrong” notes, so when unexpected moments happen, don’t let them break your flow or take you out of character. Play through the riff, keep discovering new layers tonight with the audience, and we’ll be in a great place for opening night.

Onwards!

Josh

GENERAL

ALL, keep energy through the applause freeze. It can sometimes be awkward as the band flips pages and starts the new song. Hold the freeze and keep the energy. 

ALL, don’t break character when exiting stage.

PRINCIPALS, make sure to have plastic water available off-stage during the show to hydrate when you’re off stage. 

ALL, a lot of pushing when you can’t hear yourself. Your voice should be full and stage-worthy, but do not push or strain to be heard. Importantly, this is why during sound check to level set with your normal show volume. The audience can hear you, that’s Sound’s prerogative, but I can also really hear when you’re straining. It’s also going to kill your voice, so pleeeeeaaaaasssee don’t strain or push. 

ROAD TO HELL

FATES, remember to acknowledge the audience after you scorn Hermes

FATES, don’t sit once you stand after your introduction

HERMES, loving the audience play. Keep it up!

HERMES, “it’s a tragedy”. Tragedy is a more a thriller energy, not a joke

CHORUS, take a page out of HERMES’ energy when he introduces you to the audience. 

HERMES, “tale of Orpheus and Euridice” is to audience to introduce the show

ANY WAY THE WIND BLOWS

CHORUS, hear the Wind at the top, this is what causes you to move from the end positions of “Road to Hell”

EURYDICE, feel the warmth of the “bed you could fall into”. It helps to juxtapose the misery of the world/wind with the warmth of your dream

COME HOME WITH ME

ORPHEUS, love the proposal kneel

EURYDICE, love the playful turn at “what else you got?”. Smile before turning so that SL audience gets to see the moment

WEDDING SONG

EURYDICE, you can find moments to smile at Orpheus, especially when he does ridiculous dream logic movements. 

EURYDICE, in the 3rd verse, it’s all play. No need to question as much. 

EPIC I

DSR CURTAIN, Hermes exits during Epic I to grab guitar. Can this be handed to him rather than him needing to full exit?

LIVIN’ IT UP ON TOP

CHORUS, try not to “sneak” looks at the other side to catch what choreography is supposed to be. You can look at, or past them, but there were a number of quick, panicked, check-ins which were pretty clear were not in-world character choices

PROPS/ORPHEUS, need to secure Guitar Strap. If there isn’t a replacement, something to modify so that the strap can’t come undone.

ALL I’VE EVER KNOWN

HERMES, “she fell in spite of herself”, in spite is the operative word

EURYDICE, hopefully with the piano amp we’ll be able to hear the band more. If you feel off you can always check in with Caldwell while looking at Orpheus. Try not to let feeling off break the beautiful character moments we had worked on. If you get off from the band, don’t let the audience know!

ORPHEUS, Eurydice is out loving you in places in this song. Don’t let her win!

WAY DOWN HADESTOWN

PERSEPHONE, missed entrance on “Winter’s Nigh”. It’s 13 measures of a dance break. In theory, the bass should give you 4 quarter notes run (C, D, Eb, D) right before you come in. It’s the only time in that dance break the bass plays all 4 quarters, if that’s helpful.

LIGHTS SM, I believe we got ahead of Light Cues at the end of this. I’m not sure you caught that until you saw me looking at you. Make sure you notice those mood and color shifts as well as checking numbers so that you know when you get off. Sometimes clicking GO over and over its easy to get one ahead or behind, so make sure to check the vibes by watching the stage too. 

Any Way the Wind Blows

DSL CURTAIN & HERMES, can we hand off the umbrella instead of Hermes needing the exit and re-enter?

EPIC II

ORPHEUS, remember the “magic” vocal tone shift. I think we’ve forgotten to separate those two Orpheus tones.

CHANT

EURYDICE, when you call out for “Orpheus” while tussling with the Fates, remember you are calling for aid, not yelling “Orpheus!” at the Fates. It seemed like you were calling the Fates “Orpheus”, so feel free to look over your shoulder or around hoping he’s coming to help you fight against the storm. 

HEY, LITTLE SONGBIRD

HADES, great job bringing that smoothness back

HADES, after your first turn on “nobody sings on empty”, react once Eurydice starts being intrigued with your offer. You don’t need to turn, but from side of house we can see your face, and some bit of a facial reaction that she’s interested in playing would be welcome. 

CHIPS ARE DOWN

SOUND, need to balance FATES during soundcheck.

GONE, I’M GONE

EURYDICE, Band has been updated to wait you at top. You should have those chords to trigger each of your lines. Check in with me if this is unclear. 

EURYDICE, loved the final “I’m Gone” by stepping out of the light. Don’t feel you need to rush this moment.

FATES, loosing the story in this end. This is probably your most defending of Eurydice in the show, but really pointedly talk to the audience. The energy should be as though the audience is Football fans having been yelling at the TV of why Eurydice is sooooo dumbbb and you’re putting them in your place. No need to get aggressive, but you need to remind the audience that her actions are justified. 

WAIT FOR ME

BAND, a little quick. 

ALL, even if the band is quick, follow them.

FATES, great freeze when Orpheus does magic

WHY DO WE BUILD THE WALL

CHORUS+FATES, we were the ones rushing in this song. Most of you should be able to see Caldwell, please follow him, especially during the call and response when you can’t hear the band. 

LIGHTS SM, End of song cue is taken at the End of the final sung line “We build the wall to keep us free” before the Coda with Hermes’ narration. 

Notes from Saturday Run

HERMES, in Wait for Me intro, loved your leading of Orpheus with the turns and staging. 

ATROPOS (Arlo), there was a moment in this where your attitude was “Kids these days” which I absolutely loved

FATES, Epic III instrumental is the FATES’ happy ending. You can show this during your la la la, la las. 

ORPHEUS & EURYDICE, in Promises, you walk away and then turn back during each of your verses. You can touch to reassure the other. For example, Orpheus walks away at “I have no ring for your finger”. Eurydice, put a hand on his shoulder before he turns back to reassure him. This will help trigger the turn back more naturally.

EURYDICE, in Promises, small thing: wedding rings are worn on the left hand not the right hand. 

FATES, in Word to the Wise, “whole damnation”, damnation is below you referring to all of the workers, deck, etc. 

HADES, in He Kiss, the Riot, word paint with the “belladonna kiss”. Play those juxtaposition of the adjectives. You have some more time here, so really milk this text. 

HADES, in He Kiss, the Riot, loosing text “shall not turn to look” when talking to Hermes. Really make sure this text is clear, as it’s kinda critical to the next plot.

ORPHEUS and EURYDICE, in Wait for Me (Reprise) try playing your first duet “Wait for me, I’m Coming” duet directly to each other rather than starting away. This is your last intimate moment, bask in each other’s eyes and in the hope everything is going to be okay. 

CHORUS, in Wait for Me (Reprise) when you reach for the audience telling them “Wait for me” look directly at specific audience members and reach for them to take them with you out of hell. The audience is about to leave Hadestown and you NEED them to take you with them. 

FATES, in Doubt Comes In, “Cold is Blowing” “Wind in changing” make sure to perform these lines, not just flat singing them. You are the thoughts swirling around Orpheus so not every line needs to be directly to him, they are just the thoughts he is thinking. It really makes the powerful “Where is she?” Where you all sing together right at him pop.

HERMES, in Road to Hell (Reprise). Still can take more time at the top. Make sure to have a different energy with the “Alrights” at the top of this song. More akin to “welp” than the start of the show energy. 

CHORUS + ALL, in Raise our Cups, it’s better to treat this as a number of toasts rather than a single really long one. Feel free to raise cups when someone tells you too, silently clink glasses in cheers, drink etc. I think there are 3 large raising of cups, 

1 at the top, which can release pretty quickly at “drink up…”

2 “…who bloom, in the bitter snow...We Raise Our Cups to them”, this should release right after to them, as the next line needs to raise cups again

3 “We raise our cups, and drink them up, we raise them high, and drink them dry, to Orpheus and all of us, good night brother good night” This should continue to build throughout these lines. We shouldn’t hit the climax of this until “to Orpheus and all of us” then freeze at “Good night, brother, good night”.