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.