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”.
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