precho

wowie

dont worry i wasnt planning on forgetting

i shall be the herald of this news

waow,,

happy international women's day

all of my oomfs are gone now this is so sad

guilty gear more like blueity blear follow for blangers

WHOOOOOOO

Hadestown West End (all songs) Playlist · Mimi · 40 items · 77 saves

AND DANCES ASDFUHIUFUHIOSFDUIHOSDFGIUHOSDGFHIUOSDFG IUOHSDFGHUIO ok i was planning on writing my thoughts on every song but that took way to long HELP no one's even going to read this but please listen to hadestown and then maybe read it or smth idk #hadestown open.spotify.com/playlist/03d...

it's so good, and he can hear the echo of them repeating his song, which keep him company in the exact same way nature did on the surface. It's such great personification and comparison to Hades who is literally built like a rock AND LITEARLLY REPEATS ORPHEUS' SONG BACK TO HIM

He also shows how his art and nature can influence even the harshest and most closed off objects, rocks and stones are natural, but are devoid of life. the "falling of [his] feet" bestows a literal drumming sound into the rocks turning them into instruments adiufhadsfoiusahfg

to the fricatives she used earlier, now not describing inanimate stones, but "heart" "chest" etc. the town wont just take away his vision for the world, but will strip him of his soul and nature. Orpheus obviously breaks into the chorus again and fights back from this

vowels, similar to the fates with "dry" and "eye". She's quite litearlly showing Orpheus how hadestown will take away and vision he had for the world, and close him off from any art or nature if he stays down there, just like how the fates did, and then she moves back

(which is a reason Hades works so well as a character who has forgotten all of that, and is why he's so influenced by the fates to do what he does). Hermes gives advice not for the journey, but once he arrives, now not using plsoives but using the same closed off

and that's the only thing that can drive away the voices inside him. It existed before him, but he had to find it himself, and despite that it still takes everything he has to drive away those voices within despite KNOWING what he's working towards and the power of keeping hope

THE WAY HE SEES THE WORLD, BECAUSE A CHALLENGE TO HIMSELF IMPACTS HIM MORE THAN ANY OF THAT, DESPITE HIM KNOWING THAT IS LESS IMPORTANT THAN HIS MISSION AND WHAT HE WANTS FROM THE WORLD. fate 3 is my favourite character btw. The melody "came to him, like [he] knew it all along"

IN THE MUSICAL DOES. ALL OF HIS BIGGEST OBSTICLES CHALLENGE HIS PERCEPTIONS BUT THE MOST POWERFUL CHARACTER IN THE MOST POWERFUL SONG (which you'll see in the reprise too) IS A VOICE COMING FROM WITHIN WHICH OVERPOWERS EVERY OTHER OBSTACLE AND EVEN THE VOICES CHALLENGING

from the rest with her STUNNING voice btw. Whilst fate 2 mocked the way Orpheus saw the world, by laughing it him losing Euridice because he was too caught up in his vision rather than how it was, fate 3 directly challenges his perception of HIMSELF, WHICH NO OTHER CHARACTER

the way he wants the world to be. "why are you all al*o*ne" Fate 2 is clearly mocking here with the laugh after and it's so genius because she's almost pretending to put emphasis on her vowels the way Orpheus does but makes it sound so fake. Then fate 3 breaks away

"Who are you" the fates are perfectly in sync, yet each with a slightly different menacing pitch, i love how they keep the vowels short, yet stressed. This isnt the contrast Euridice or Hermes gives, of confronting Orpheus with the world as it is, but theyre directly challenging

puts this smallest bit of emphasis on the t in "im coming too" and it genuinely makes me tear up a little how brilliantly he sings it, right after he puts everything into the open "me" and "with" in the second repetition just before that.

This comes through so nicely in the West End release, Donal Finn barely even pronounces the t in "wait" his voice is completely open almost in a yawn. He becomes more exacerbated throughout the song and clearly has to try harder, right before the fates come in he so beautifully

That's why I think the start of wait for me works so well, Hermes is being extremely blunt to Orpheus in the way that Euridice was after experiencing the world, however now Orpheus has to experience that bluntness and how different it is for his vision of the world.

he sings openly and smoothly through "s*o*ng" "al*o*ng" "p*a*n" "b*a*nd", and Euridice starts to flow into this through the song, switching from "can" to "able", opening the word up a lot more, and emphasising the asonance in "dark and getiting darker all the time"

wedding song. It actually matches really well with Euridice's part in wedding song where she sings about it being "dar*k*" and "har*d*" you can see that contrasting with Orpheus in the song. She emphasises the "nd" in "wedding bands" keeping the words closed and unexposed, whilst

Orpheus beneath her "wing" his entire life gives Orpheus very visceral and literal instructions on how to get to Hadestown, her descriptions are all very solidified and she speaks clearly and with a lot of plosives which directly contrast Orpheus sibilance and assonance in

of the world. It's the first time Orpheus interacts with the fates, and with the flower representing his hopes for the world personified into Euridice who's represented by the flower which Orpheus caused to bloom through his vision for the world. Hermes, who has sheltered

ok top down, wait for me is my favorite song, but im sorry you have to see it live to understand😭just listening to the soundtrack it's probably bottom of S+ but still. It is possibly the best song thematically, it's Orpheus being told in no uncertain terms the difficulties

dnd setup :3